Should I Copyright My Book Before Sending It To An Editor

Gary Smailes | 3 November 2025

How copyright works for unpublished manuscripts

Take a breath. Your manuscript already carries copyright. No forms. No stamps. Words saved on a computer or written on paper count as a fixed work, and ownership starts there.

Automatic protection, in plain English

From the first save or the first printed page, you hold exclusive rights:

• Reproduce the work.
• Distribute copies.
• Prepare derivative works, like translations or a screenplay.
• Perform in public.
• Display in public.

Registration lives in a separate bucket. Helpful for enforcement. Not required for ownership.

Ideas do not receive protection. Expression does. A plot about siblings reconciling after a storm belongs to the marketplace of ideas. Your specific scenes, dialogue, and sentences belong to you. Titles, short phrases, and facts also fall outside protection.

Across Berne Convention countries, the same rule applies. Protection attaches automatically to original expression fixed in a tangible form.

Editors do not gain rights by reading or advising

Editors read, comment, suggest changes, and sometimes write a short sample line. None of that shifts ownership of your book. You keep copyright unless a contract says otherwise.

A clean contract helps:

• You grant a limited license to edit and return files.
• The editor assigns any rights in deliverables to you upon payment, such as the editorial letter or a style sheet.
• No coauthor credit, no publication rights, no right to share pages without permission.

A seasoned editor expects language like this. Anyone pushing for ownership of your manuscript raises a bright red flag.

Keep proof of creation

Copyright attaches right away. Evidence still matters. Build a paper trail while you write.

Practical steps:

• Save dated drafts. Use names like Title_v01_2025-03-14.docx.
• Turn on version history in your writing app. Export a copy of the history if the platform allows downloads.
• Email a draft to yourself or to a trusted collaborator. Email headers show timestamps and form part of an audit trail.
• Store files in two places. Cloud plus an external drive you unplug.
• Keep a research folder with PDFs, screenshots, and citations. Date each file.
• Photograph handwritten pages with the date visible on a desk calendar or phone screen.

Mini exercise, 15 minutes:

• Create a folder named BookName_Provenance.
• Drop in the current draft, an outline, and a notes file.
• Export a PDF of the draft, then add the date to the filename.
• Add a text file called ChangeLog.txt with three lines: date, scope of edits, tools used.

Using excerpts without risk

Sharing a chapter with a friend or an editor does not surrender rights. Still, leave a trail. A few good habits:

• Add a footer: © 2025 Your Name — Draft.
• Share through a private link or a restricted folder.
• Keep emails that describe what you sent and when.
• Note where excerpts appear, such as a contest or a newsletter.

Collaboration, coauthors, and contributors

Two writers working together share ownership unless a contract says otherwise. Agree on names, percentage splits, and decision rules in writing before pages start to fly. For a foreword or illustrations, get written permission for use within the book and for promotion. Credit as agreed. Pay as agreed. Keep copies of every agreement.

For interviews or quotes, secure written permission when fair use does not apply. Save emails and signed forms in the Sources folder.

What belongs to you, what does not

• Worldbuilding details expressed in your text belong to you. A desert city with wind towers and salt markets lives on your pages. Another writer can build a desert city too, with different details and prose.
• Facts remain free for everyone. A date in history, a recipe for sourdough, a public domain poem, all sit in the nonexclusive bucket. Your selection and arrangement, your sentences, your notes and commentary, those carry protection.
• Pen names cover marketing and privacy. Copyright sits with the legal person or business behind the pen name. File contracts under the legal name unless a company holds rights.

Where registration fits

Ownership comes first. Enforcement benefits from registration, especially in the United States. Registration builds a public record, supports lawsuits, and strengthens potential remedies. Many writers register near publication or after a stable edit. Timing strategy belongs to you and your budget. The key point here, no need to wait for a certificate before hiring an editor or sharing a sample.

Quick checks before sending pages

• Footer with © year and your name.
• File name includes date and version.
• Backup stored offsite.
• Email trail and a brief change log saved.
• A simple contract ready for the editor, with confidentiality and rights language.

You wrote the words. The law starts on your side. Protect the draft with light, steady habits, and move forward with confidence.

Do you need to register before hiring a book editor?

Short answer. No. You do not need to register your book before working with an editor. Copyright already attaches when your words are saved or written on paper. What protects you at this stage is a simple contract and a seasoned professional.

Editors do not gain rights by reading or marking up pages. Ownership stays with you unless you sign it away. A good editor knows this and expects clear rights language.

Why registration is optional at this stage

Registration helps with enforcement in the United States. It creates a public record and supports lawsuits. Useful later. Not a prerequisite for developmental work, copyedits, or proofreads. Across Berne countries, protection attaches automatically, and many systems do not offer government registration at all.

So send pages when you are ready, use a professional process, and keep a paper trail.

When writers choose to register

Authors often wait until the text feels stable. Near publication, after a major revision, or once the copyedit locks wording. Some register earlier for peace of mind. Both paths work. If anxiety spikes, file first. If not, proceed with an editor and slot registration for a later milestone.

Two common timelines:

• Hire a developmental editor, revise, then register the near-final manuscript.
• Complete copyedit, register before launch, then proofread and format.

If you expect US release, set a reminder linked to first publication so you hit the best window for remedies. Your later section on registration will cover details, but the headline here is simple. Ownership exists already.

Safeguards while you work with an editor

A contract and a few calm habits do more for you than an early filing.

Include in the agreement:

• You keep all intellectual property.
• The editor receives a limited license to edit and return files.
• Confidentiality applies to all materials and discussion.
• Any deliverables created by the editor, such as an editorial letter or a style sheet, transfer to you upon payment.
• No sharing of excerpts without your written permission.

Process habits:

• Start with a paid sample on one chapter. See the notes, confirm the fit, then book the full project.
• Send a synopsis and two chapters before the whole draft.
• Use a private link or restricted folder for files.
• Name files with date and version. Save offsite backups.
• Add a footer: © Year Your Name, Draft.

These steps build trust and a clear record. They also weed out risky providers.

A quick, low‑stress workflow

Try this sequence and see how your shoulders drop:

1. Email three sample pages and ask for a short paid edit.
2. Review the edit, then request a proposal with scope, dates, and confidentiality.
3. Sign the agreement. Pay a partial deposit tied to the first milestone.
4. Share two chapters through a restricted folder.
5. Expand to the full manuscript once you feel satisfied with process and communication.

Result, you move forward while keeping ownership tight and risk low.

A brief story from the trenches

A novelist came to me with a 92,000‑word draft and nerves on high alert. No registration yet. We signed a short agreement, ran a sample edit on chapter three, and set up a shared folder with version history. She tracked revisions in a change log. After a second pass and a round of line edits, she filed registration on the near‑final text and pressed go on proofs. Zero drama. Full paper trail.

When early registration makes sense

• You plan to post excerpts widely and want a public record first.
• A coauthor, ghostwriter, or third party holds earlier drafts and you want belt and braces before sharing more.
• You work under a tight launch schedule and prefer to queue filing before the rush.

Even in these cases, do not wait on a certificate to meet or vet editors. You lose momentum for no gain.

Quick checklist before you send pages

• Written agreement with confidentiality and IP terms.
• File names with date and version.
• Offsite backup confirmed.
• Footer notice on every page.
• Sample edit reviewed and approved.
• Editor background checked through references or associations.

You wrote the book. The law already sits with you. Use a solid contract, share wisely, and keep moving toward a better draft. Registration fits on your timeline, not the other way around.

Benefits, timing, and cost of registration (US + international)

Here is the practical view. Registration helps, but editing does not wait on a certificate.

United States: why registration matters

• Registration creates a public record of authorship.
• A registration is required before filing an infringement lawsuit in the United States.
• Timely filing preserves access to statutory damages and attorney’s fees. “Timely” means before infringement, or within three months after first publication.

Two paths, two outcomes:

• Timely filing in place. A lawsuit may seek statutory damages and fees, which pressure infringers and support settlements.
• No timely filing. A lawsuit must rely on actual losses and the infringer’s profits. Attorney’s fees often stay with the author.

For many writers, those differences justify filing near launch.

When to file

Aim for a stable text. Near-final works best. After a developmental edit and a full copyedit, wording tends to settle. File then.

Plans change. Big revision later, new edition, new registration. Early filing never blocks a later filing for a materially revised text.

Common timelines I see:

• Developmental edit, revise, line edit, register, then proofread.
• Copyedit first, register during interior design, then proof checks.
• Serial release plan. Register each part as published installments, then register the collected edition on release.

Short works follow a different rhythm. A poetry collection or a set of stories often heads into group options. Rules shift by category, so confirm current forms on the Copyright Office site.

Cost and timeline in the US

• Online filings often fall in the 45 to 65 dollar range per work. Paper costs more.
• Processing runs long. Months, not weeks. The effective date is the filing date, so the wait does not erase protections granted by registration.
• Special handling rushes the process for a steep surcharge. Use only for litigation or similar urgency.

A quick budgeting tip. Add a line item in your launch plan for registration. Treat it like ISBNs and cover design, a small fixed cost with a large upside.

International context

Most countries follow the Berne Convention. Protection attaches upon creation, with no government filing required. Optional registries exist in some places, often for proof purposes rather than as a condition of protection.

Regardless of country, proof saves headaches. Build a trail:

• Dated drafts with version numbers.
• Cloud timestamps and platform history.
• Emails with attached files or shared links.
• Signed contracts with editors and designers.

Writers outside the US who plan US sales often file a US registration for the final text. The form accepts foreign authors. Filing supports US enforcement and produces a public record that helps with takedown requests.

Practical examples

• Indie novelist in the US. Finishes a line edit in May. Files in June. Publishes in July. That window preserves statutory damages and fees if trouble appears.
• Memoir writer in Canada. Edits with a UK editor. Launches worldwide on a US retailer. Files a US registration during formatting. No conflict with Canadian law, and stronger footing for US distribution.
• Nonfiction author with charts and photos. Registers the text. Registers images only if ownership or licenses support it. When images come from stock libraries, rely on the stock license rather than a text registration.

A simple plan that keeps stress low

• Decide on a filing milestone. Near-final text works for most projects.
• Put a reminder on the calendar for three months after first publication. Missed that date, no panic. Registration still supports lawsuits, only the damages menu shrinks.
• Keep every draft and email. Label files with date and version. Back up offsite.
• For non‑US authors with US sales, schedule a US filing during final proofs.

Registration serves as a shield, not a starting pistol. Build the book, refine the text with trusted editors, then file when the words settle.

Contracts and safeguards with freelance editors

You do not need drama here. You need a clear agreement, a sane process, and editors who behave like pros. Set it up once, then get back to the pages.

Put it in writing

A handshake belongs in a novel. Use a contract.

Cover the basics.

• Scope. What service, how many words, how many passes, and what is out of scope.
• Schedule. Start date, delivery dates, and response windows for revisions.
• Price. Deposit, balance, milestones, and refunds for missed deadlines.
• Confidentiality. Your manuscript stays private.
• Intellectual property. You keep ownership of the book. Period.
• License. You grant a narrow, temporary license to edit and store files for this job.

Sample language you can adapt:

• Ownership. “Author owns all rights in the manuscript and any revisions.”
• License. “Author grants Editor a limited license to access, edit, and store the manuscript for the sole purpose of providing the services under this agreement.”
• Confidentiality. “Editor will not share, publish, or quote from the manuscript without Author’s written consent.”

Plain words beat legal fog. If a clause feels squishy, ask for a rewrite in everyday language.

Rights, keep them tidy

Freelance editors do not need to own anything. They deliver analysis and notes. You pay, you own the results.

Avoid loose “work for hire” lines. In many countries that phrase does not fit freelance editors. Use assignment instead.

Ask for this:

• “Upon payment in full, Editor assigns to Author all rights in Editor’s deliverables, including the editorial letter, comments, tracked changes, and style sheet.”

Add a waiver for any lingering moral rights if local law creates them. Short and polite:

• “Editor waives any moral rights in the deliverables to the extent permitted by law.”

One more boundary. No coauthor credit unless you hired a book doctor and both sides agreed in advance. If someone asks for their name on your title page, walk away.

Data handling and tools

Your book is not a marketing asset for an app. Be explicit about tools, storage, and sharing.

Specify:

• File transfer. Use a secure link or a shared folder, not public links. Two‑factor where possible.
• Storage. Editor stores files in secure services. No printouts left at the café.
• Retention. How long files stay on servers. When deletion happens.
• No redistribution. No forwarding to subcontractors without written approval.

AI and third‑party tools need daylight. Spell out what is allowed.

• “Editor will not upload the manuscript to any service that trains on user content.”
• “Automated tools used for spelling or grammar must process text locally or in a private session that does not retain or reuse content.”
• “Editor will disclose any tool that ingests or stores text outside the editor’s device.”

Ask for a quick data map in the proposal. Where files live, which tools run, who has access. If that diagram looks like a spiderweb, simplify or switch providers.

Optional NDA

For high‑profile projects, pen names, or sensitive revelations, add an NDA. Keep it short.

Key points:

• Definition of confidential material.
• Permitted use, limited to editing.
• Ban on public disclosure, even of the fact of engagement if needed.
• Duty to notify you of any breach or legal request.
• Return or deletion of files at the end of the job.

An NDA pairs well with the main contract. No need to turn it into a novel.

Vet like a pro

Pick editors who live in the sunlight. You want a track record, not vibes.

Steps that save pain:

• Start with professional bodies. EFA, CIEP, ACES. Browse directories and job boards.
• Read bios and service lists. Match genre and level of edit.
• Ask for two references. Then call or email them. “Did deadlines hold, did the notes help, any surprises?”
• Request a paid sample on one chapter. One to two thousand words is enough. Pay their rate for a small block. Watch how they handle voice, query style, and file hygiene.
• Google their name with “scam,” “rights,” and “plagiarism.” Silence is good news.

Red flags:

• No contract.
• Claims of coauthor credit as a condition of work.
• A promise to publish your book through their “imprint.”
• Refusal to discuss tools or storage.
• Pressure for full payment upfront to an unverified account.

Bonus clauses that protect your future self

These lines clean up common messes.

• Kill fee. “If Author cancels after work begins, Author pays for work completed to date.” Include a percentage ceiling.
• Late fees. “Invoices overdue by 30 days accrue interest at X percent per month.” Keeps both sides prompt.
• Dispute path. “Parties will try to resolve disputes by phone within 10 business days before any formal action.” Saves email wars.
• Liability limits. Editors do not insure you against libel or permissions issues. Add a note. “Author is responsible for legal review of content.”

A short walkthrough

Here is how this plays out without stress.

You contact three editors from CIEP and EFA. They send proposals with scope and prices. You pick one. You reply with your contract template, or ask for theirs and mark it up.

You add the ownership, assignment, and confidentiality lines. You approve a limited license to edit. You add a note on tools. Grammarly in local mode is fine. Uploading whole chapters to public prompts is not.

You pay a deposit tied to a milestone. The editor delivers a paid sample on your first chapter. The tone fits. You green‑light the full job.

Files move through a shared folder with permissions. Every version gets a label with date and v number. At the end, the editor sends the editorial letter, the tracked file, and a style sheet. You pay the balance. They confirm deletion after 60 days, once you confirm receipt and backups.

Your rights never left your desk.

Quick checklist

• Written agreement signed by both sides.
• Clear scope, schedule, and price.
• You own all IP in book and edits.
• Assignment of editor deliverables upon payment.
• Limited license to edit, no broader use.
• Confidentiality clause.
• Data plan, storage, and deletion spelled out.
• AI and tool rules, no training on your text.
• Optional NDA for sensitive projects.
• Vetting through EFA, CIEP, ACES, plus a paid sample.

A boring contract is a beautiful thing. Set the guardrails, then give your attention to sentences, not subpoenas.

Practical sharing protocols to reduce risk

You want the work seen by the right eyes, not floating around the internet. A few guardrails make a big difference.

Start small

Begin with a synopsis and one or two chapters. Ask for a paid sample edit on those pages. You learn the editor’s style. They learn your voice. If the fit feels off, you have not sent the whole book.

Once trust and process look solid, send a larger block. Half the manuscript works well for a second stage. Hold the full text for the formal start date, after the contract and deposit land.

Send through secure doors

Avoid raw attachments in public email. Use a restricted link or a shared folder.

Pick one system and keep it tidy.

• Google Drive. Share to named email addresses only. Viewer or commenter as needed. Turn off “Anyone with the link.” Add link expiration for temporary access.
• Dropbox. Share to a specific person. Disable downloads for read‑only previews. Set link expiry if you use a link.
• OneDrive. Share to named accounts. Require sign‑in. Limit to view or edit as required.

Add two-factor authentication to your account. Change your password if you have not done so in a while.

For extra sensitive chapters, send a password‑protected zip or a protected PDF. Share the password by text or phone, not in the same email thread. Keep the password in your notes for later.

If an editor wants to use a portal or project tool, ask how it stores files. If storage or access looks vague, switch to your folder and invite them in.

Keep your versions straight

Sloppy versioning wastes time and muddies your record of creation. Pick a naming scheme and stick to it.

Example:

• Title_Author_v0-7_2025-03-12.docx
• Title_Author_v0-8_2025-03-18_editor-comments.docx
• Title_Author_v0-9_2025-03-25_revision.docx

Rules that help:

• One file per version. No “Final,” “FinalFinal,” or “New Final.”
• Use dates in ISO order, year-month-day, for sorting.
• Keep an Archive folder. Do not delete old versions.
• Save locally and to the cloud. Add an external drive backup each week.

Turn on tracked changes for edits. Preserve a clean copy of each incoming file. Never overwrite the last version. If you work in Google Docs, use Version history to name milestones, then export to Word for delivery.

Create a simple log in a text file:

• v0-7, sent to Editor, 12 Mar
• v0-8, received comments, 18 Mar
• v0-9, revised chapters 1–5, 25 Mar

Boring, yes. Also gold when you need to prove who had which draft when.

Label the pages

Add a footer before you share:

© 2025 Your Name — Draft

This line does not create rights. It signals ownership and helps track copies. Add page numbers. Add your email in the header or footer for orphaned pages.

For sample chapters, consider a light watermark with your name and date. Keep it unobtrusive. You want the editor to read, not squint.

Pay in steps, tie work to milestones

Money sets pace and expectations. Break the job into parts.

A simple structure:

• Deposit on booking, often 25 to 50 percent.
• Sample edit or kickoff review delivered. You confirm scope and tone.
• Main delivery, such as the editorial letter or copyedited manuscript.
• Balance on delivery, then a short window for follow‑up queries.

Avoid paying 100 percent upfront to unknown providers. Use invoices and receipts. Keep every payment confirmation with the project files.

If timing slips, adjust milestones in writing. One line in email works:

“New delivery date for the edited manuscript is 14 May. Balance due on receipt.”

Extra friction that saves headaches

• Ask for a read‑only preview first, then grant edit rights when you are ready.
• Share a redacted version if a chapter includes private names or data you do not wish to circulate yet. Replace names with placeholders. Restore them later.
• Confirm receipt of each transfer. One sentence from the editor, “Received v0-8 at 3:14 p.m., stored in secure folder,” closes the loop.
• At project end, ask the editor to delete working copies after your final backup. Get a one‑line confirmation.

A quick playbook

• Start with synopsis and two chapters. Paid sample first.
• Share via restricted links. No public links. Two-factor on.
• Use consistent file names with dates and version numbers.
• Track changes on. Keep an archive and offsite backups.
• Footer with © year and your name, plus page numbers.
• Watermark samples if you like. Keep it light.
• Use deposits and milestones. No full payment upfront.
• Log every send and receive by date and version in a simple text file.
• Get deletion confirmation at wrap‑up.

None of this slows the work. It keeps your book tidy, traceable, and in safe hands while you focus on the sentences.

Common myths and red flags

Let’s clean up the folklore and spot the trouble before it lands in your inbox.

Myth 1: “Poor man’s copyright” protects you

The trick goes like this. Print your pages. Seal them in an envelope. Mail them to yourself. Keep the postmarked package as proof.

Courts ignore this stunt. A postmark proves a mailing date, not authorship, not ownership, not the text inside. Envelopes get opened and resealed. Contents get swapped. Judges know this.

What helps instead:

• Dated drafts saved in your files and in the cloud.
• Version history showing changes over time.
• Emails where you sent pages to beta readers or an editor.
• A contract for editorial work with your name on the manuscript.

Registration in the United States gives extra teeth if you need to sue. The envelope does nothing of value.

Myth 2: Emailing yourself equals US registration

Sending your manuscript to your own inbox does not create a registration. Posting chapters on a blog does not create a registration. Only the US Copyright Office issues registrations.

Email timestamps help with provenance. Useful, yes. A lawsuit for infringement still requires a US registration for US works. For maximum remedies, timing also matters. Register before infringement, or within three months of first publication. Keep that window in mind once you release the book.

Red flags when hiring an editor

Most editors play it straight. A few do not. Watch for these signs and walk away.

• No written agreement. They avoid a contract, or they push a one‑page quote with no terms. You need scope, dates, payment schedule, confidentiality, and a clear statement of your ownership. No contract, no project.
• Rights grab. They ask for co‑author credit. They ask for a share of royalties. They propose to publish or distribute your manuscript. None of this belongs in an editing arrangement.
• “Work for hire” thrown in where it does not belong. In book editing, that phrase often gets misused. Safer route, the editor assigns rights in their notes and markup to you on payment. Put that in writing.
• Refusal to honor confidentiality. If they baulk at a confidentiality clause or a short NDA for sensitive material, move on.
• Vague process. No sample edit. No mention of tracked changes. No style sheet. No timeline. No references. Real professionals show process.
• Pressure tactics. “Book today or lose the slot,” paired with a demand for full payment in advance. A modest deposit is normal. Full prepayment to a stranger is not.
• Prices that do not add up. Rates far below market for the scope and timeline. Someone will cut corners or outsource without telling you.
• Requests to upload your full text into third‑party tools without consent. More on that next.

Quick test. Ask, “Do I retain all rights in the manuscript and edits?” The answer should be a quick yes, followed by the exact clause in their agreement.

AI and privacy, no surprises

Many editors use software to speed routine tasks. Spelling, style checks, reference tools. Some also use AI features in writing apps. Your job is to set boundaries, in writing.

Ask plain questions:

• Will any AI service process my text, even in part?
• If yes, which service, and with what settings?
• Does the service train on user data?
• Where are the servers, and who has access?
• How long do copies stay on those systems?

Set your rule. For example:

• No uploads to public AI models.
• Only locally run tools, or enterprise tools with training disabled.
• No excerpts in prompts to public chatbots.
• Delete working copies on completion.

Put the rule in the contract. Name the tools allowed, or ban all third‑party tools without prior written approval. If an editor hesitates, ask for an alternative workflow. If they refuse, pick someone else.

When to call a lawyer

Sometimes you need more than a good contract template and your best guesses. Bring in an intellectual property attorney for:

• Complex release plans. Staggered serials, bonus chapters for subscribers, early excerpts for PR.
• Collaboration. Co‑authors, contributors, or a ghostwriter.
• Life‑rights or sensitive nonfiction. Real names, private documents, or defamation risk.
• Translation, adaptation, or audio rights.
• Disputes over ownership, or a plagiarism claim.

A short consult saves far more than it costs. Ask for a practical read on risk and the right paperwork.

Mini scenarios, clear answers

• A contest asks for “permission to use entries for marketing.” Stop. That language often sweeps in broad rights. Seek clarification or pass.
• An editor says, “I share samples of client work on social media.” Not without your written permission and specific excerpts approved by you.
• A book doctor offers to “shape the story” in exchange for a byline. Editing is a service. Co‑authorship belongs in a separate agreement with clear credits and pay.

A quick checklist

• No poor man’s copyright. Build provenance with drafts, timestamps, and email trails.
• Email to yourself helps with dates, not registration. Register with the Copyright Office if you plan US release.
• Use a written agreement. You own all rights. Editor assigns rights in their deliverables to you on payment.
• Set AI rules in writing. No training on your text. No uploads to public models.
• Avoid red flags. No contract, rights grabs, vague process, pressure to pay in full, too‑good pricing.
• When stakes rise, talk to an IP attorney.

You protect your book by staying boring and methodical. Paperwork, timestamps, clear rules. Editors who respect that are the ones you want in your corner.

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