10 Questions To Ask Before Hiring An Editor

Gary Smailes | 5 November 2025

Clarify Fit: Genre and Editing Level

Your first job is simple. Match the fix to the problem. Wrong level, wasted money.

Question 1: Which level of editing do you recommend, and why?

Ask for a diagnosis tied to your pages. Not a menu. Not a bundle.

Clear, page‑based answers sound like this.

• “Your fantasy opens with strong voice, yet the inciting incident lands at 18 percent. Recommend developmental editing. Goal: pull the trigger by 10 percent, tighten worldbuilding reveals, and clarify the magic cost. Deliverables: 8 to 12 page letter, scene map, margin queries on structure and stakes, one call.”
• “Sentences carry clutter and repeated beats. Story holds together. Recommend a line edit to sharpen rhythm, remove filler, and align tone with upper YA. Deliverables: full Track Changes pass, style notes on voice ticks, one follow‑up round for spot fixes.”
• “Story and style read solid. Errors and consistency slips remain. Recommend copyedit. Deliverables: style sheet, corrected file, query list for facts and names.”
• “You are ready for layout. Recommend proofread of PDF page proofs for typos, bad breaks, and widows or orphans.”

Vague or salesy answers sound like this.

• “Every manuscript benefits from the full stack.” Upsell, not diagnosis.
• “A proofread will tidy things.” You still lack a plot engine, a proofread will not fix structure.
• “Let me rewrite for flow.” Voice theft incoming.

Short self‑test to guide your ask.

• Readers struggle to explain what the protagonist wants by page 50. You need a developmental edit.
• Scenes work alone, yet paragraphs ramble and repeats pop up. You need a line edit.
• Prose reads clean, yet hyphenation, capitalization, and numbers wobble. You need a copyedit.
• Book already went through layout. You need a proofread of the PDF.

You will hear flavors inside each level too. For example, a diagnostic dev letter without margin notes. Or a light line edit focused on clarity, not style overhaul. Push for scope details in writing.

Question 2: What experience do you have in my genre or subgenre?

You want an editor who speaks your category. Expect recent comps, common tropes tracked, and reader expectations enforced by habit, not guesswork.

Good answers include specifics.

• Romance: “Edited eight small‑town romances in the past year. Comps: Elsie Silver, Abby Jimenez. Track meet‑cute variation, consent language, heat level, midpoint breakup or dark night, and an HEA or HFN. Watch intimacy pacing and third‑act reconciliation.”
• SFF: “Work includes three epic fantasies and two space operas. Track POV control, worldbuilding drip rate, magic rules with cost, and map or glossary needs. Guard against exposition clumps.”
• Thriller: “Deal with stakes escalation, ticking clock, midpoint reversal, fair plant of reveals, and clean action prose. Comps: Ruth Ware, Blake Crouch.”
• Cozy mystery: “Focus on fair‑play clueing, red herrings, low gore, community vibe, and series hook. Ensure the sleuth drives solution.”
• Kidlit: “Upper MG word counts, read‑aloud cadence, page turns, gatekeeper concerns. Track age‑appropriate stakes and humor.”
• Memoir: “Narrative distance, ethical boundaries, scene versus summary, promise of transformation.”
• Business nonfiction: “Clear promise of value, chapter takeaways, case study structure, charts and citations aligned with Chicago.”

Weak answers wave hands.

• “I read widely.” No proof.
• “Story is story.” Genre conventions exist for a reason.
• “Romance is about relationships, ending optional.” Not in romance. You need an HEA or HFN.

Ask for two recent titles in your lane and what problems they solved on each. A pro will talk beats, not vibes.

Give the editor what they need to recommend the right scope

Send a tight packet. One page does heavy lifting.

What to include:

• Pitch in two sentences. Who wants what, what blocks them, why now.
• Genre and subgenre. Be precise. Romantic suspense, portal fantasy, cozy with culinary angle, upmarket book club, narrative business.
• Word count and audience. Also your publishing path, querying or indie.
• Comps, two or three, within the last five years.
• Pain points. Three worries, written plainly. For example, “slow middle,” “flat banter,” “head hopping.”
• A clean sample. First chapter or the most representative chapter.
• Desired service and timeline. “Seeking dev edit in June” or “line edit after my next revision, target August.”

Use this template. Paste into your email.

Subject: 85k romantic suspense, seeking developmental edit in July

Body:

• Pitch: An ER nurse hunts a copycat who mimics her mother’s unsolved case, while falling for the detective who botched the first investigation.
• Subgenre: Romantic suspense, dual POV, medium heat.
• Word count: 85,000. Indie release planned, Q4.
• Comps: Laura Griffin, Rebecca Zanetti.
• Pain points: Sagging middle after the first attack. Villain presence too thin. Banter feels stiff in Chapters 3 to 6.
• Needs: Recommendation on level and scope. If dev edit, request an edit letter with scene map and one debrief call. Available for handoff July 10.

Then read the reply like an editor. Look for:

• A level recommendation tied to your sample, with quotes or page references.
• Evidence of genre fluency, named beats or tropes, and comps that match.
• Clear scope, deliverables, and timing.

If the response engages with your specific problems and offers a plan, you likely found a fit. If it dodges genre terms or pushes a package without touching your pages, keep looking. Fit starts here, with clarity on work to be done and why it matters.

Proof of Quality: Samples, Portfolio, References

Words mean nothing without proof. You need to see the work before you buy it.

Question 3: Show me a paid sample edit from the same chapter

Free samples lie. They get the weekend treatment. Extra polish, careful consideration, multiple passes. You want to see Tuesday at 2 PM editing, not Sunday showcase work.

Pay for 1,000 to 2,000 words from your opening chapter. Same pages, same problems, same voice. Three editors working your first chapter will reveal everything you need to know about approach, skill level, and fit.

A solid sample includes three parts.

Track Changes on every line that needs work. Not just the broken sentences. The editor should address unclear pronoun references, weak verbs, repetitive sentence openings, and rhythm problems. If your first paragraph reads like molasses and comes back untouched, the editor missed the biggest issue on the page.

Margin comments that teach while they fix. Good comments explain the why behind changes. "Switched to active voice for stronger impact" beats a silent rewrite. "Consider starting closer to the inciting incident" points to structure, not just style. "This metaphor muddies the tone" gives you a principle to apply elsewhere.

A brief big-picture note. Even in a short sample, patterns emerge. Voice inconsistencies. Unclear stakes. Weak scene goals. A thoughtful editor will spot these and flag them in a paragraph or two at the end.

Here's what quality comments look like.

Instead of: "Awkward."
Better: "This sentence runs two ideas together. Consider splitting or using 'while' to clarify the relationship."

Instead of: "Show don't tell."
Better: "You're summarizing her anger here. What does she do with her hands? How does her voice change?"

Instead of: "Unclear."
Better: "The pronoun 'it' could refer to the letter or the envelope. Specify for clarity."

Red flags in sample work include silence on obvious problems, wholesale rewrites without explanation, or comments that sound like form letters. "Great voice" tells you nothing. "Your protagonist's voice shifts from formal to casual between paragraphs 3 and 4" gives you something to work with.

Pay for samples. Budget $75 to $150 per editor. Think of it as a job interview. You're hiring someone to handle 80,000 words of your best work. A $100 test run saves you from a $2,000 mistake.

Question 4: Let me talk to two recent clients in my category

Testimonials on websites read like marketing copy because they usually are. You want real conversations with real authors who faced real problems.

Ask for two clients from the past six months who wrote in your genre. Not poetry if you write thrillers. Not memoir if you write romance. Genre matters because the problems and solutions change with the territory.

When you call references, ask specific questions about outcomes.

What problem did the editor solve? Look for concrete answers. "She helped me fix a saggy second act" or "He caught continuity errors across three POV characters" or "She showed me how to balance world-building with plot momentum."

What did the editing process feel like? You want to hear about collaboration, not dictatorship. "She asked good questions about my character's motivation" sounds better than "She rewrote my dialogue." Red flag phrases include "completely changed my voice" or "made me feel stupid."

What happened after the edit? Editors can't guarantee agent interest or five-star reviews, but they should deliver measurable improvement. Listen for outcomes like "beta readers stopped getting confused in Chapter 4" or "my critique group said the pacing felt much tighter" or "I felt confident querying after the developmental edit."

Would you hire them again? The easiest question, the most telling answer. Authors who dodge this one or pause too long probably had problems they don't want to discuss.

If an editor won't provide references, walk away. If they offer only testimonials from their website, push for live conversations. Professional editors understand that references are part of the vetting process.

Case studies work too, if they include enough detail. Look for before-and-after examples that show the problem, the solution, and the result. "Helped a space opera author clarify three alien cultures by creating distinct speech patterns for each" beats "Made the world-building better."

Compare samples like an editor yourself

You've got three paid samples from three editors. Now what?

Don't pick the one with the most red ink. Pick the one that makes your writing better while keeping it yours.

Test 1: Voice preservation. Read the edited versions out loud. Do they sound like you wrote them on a better day, or like someone else wrote them entirely? The right editor improves your voice, not replaces it.

Test 2: Problem hierarchy. Which editor spotted your biggest weakness first? If your scene has unclear stakes, muddy dialogue tags, and two comma splices, the editor should flag unclear stakes before hunting commas. Big problems first, always.

Test 3: Teaching value. Which comments help you avoid the same mistake on page 200? "Delete this word" fixes one line. "You're using 'that' as a crutch when stronger sentence structure would eliminate the need" fixes your whole manuscript.

Test 4: Genre awareness. Did the editor respect your category's conventions? Romance editors should understand the relationship arc. Thriller editors should track tension beats. Fantasy editors should watch for info-dumps. Missing genre basics signals trouble ahead.

Line up the samples on your desk. Cover the names. Which version would you rather submit to an agent? Which one sounds most like your voice, improved? Which editor taught you something you didn't know?

That's your answer. Quality editing makes you a better writer, not just a writer with a cleaner manuscript. The best editors leave you excited to tackle the next chapter, not worried they've stolen your book.

Trust the samples. They don't lie when you pay for them and compare them fairly. The editor who makes your opening chapter sing will make your whole book better.

Scope and Process: What You'll Receive and How You'll Work

Vague promises lead to disappointed authors. Get the details upfront or pay for confusion later.

Question 5: What exactly am I buying?

"I'll edit your book" tells you nothing. You need specifics. Line items. Deliverables you understand before you sign the contract.

Start with the edit letter. How long will it be? A developmental edit without a substantial edit letter is like surgery without a diagnosis. You need 3-5 pages minimum for a full-length novel, more if the problems run deep. The letter should cover big-picture issues first: plot holes, character arcs, pacing problems, structural weaknesses. Then narrow down to chapter-by-chapter notes, scene-level concerns, and patterns to watch.

A good edit letter reads like a roadmap for revision, not a report card. "Your second act drags because the protagonist becomes reactive instead of driving the plot" gives you something to fix. "Needs more conflict" leaves you guessing.

Ask about in-text comments. How many? What types? Developmental editors should flag motivation issues, plot logic, and scene goals. Line editors tackle sentence flow, word choice, and paragraph transitions. Copy editors hunt grammar, consistency, and style guide violations.

Numbers matter here. Developmental edits on messy first drafts might generate 200-300 comments per 10,000 words. Clean manuscripts might need 50-100. If an editor promises "thorough feedback" but won't estimate comment volume, they're hiding something.

Style sheets separate professionals from amateurs. A proper style sheet tracks character names, place names, made-up words, capitalization choices, hyphenation preferences, and number formatting. It grows as the editor works and becomes your manuscript bible. If your fantasy novel includes seventeen proper nouns by Chapter 3, you need that style sheet.

Scene maps and chapter summaries add value for complex manuscripts. Multiple POV characters, dual timelines, intricate world-building, or series continuity benefit from scene-by-scene tracking. Not every book needs this level of documentation, but if yours does, make sure the editor includes it.

Debrief calls bridge the gap between written feedback and author understanding. A 30-60 minute conversation after delivery lets you ask questions, clarify confusing comments, and prioritize revision tasks. Some editors include this automatically. Others charge extra. Know which camp your editor falls into.

Second-pass edits protect your investment. After you revise, does the editor review problem areas to ensure you fixed them correctly? A brief second look at developmental trouble spots or a cleanup pass after line editing prevents expensive do-overs. This isn't a full re-edit, but a focused check on specific fixes.

Question 6: Walk me through your process step by step

Great editors work systematically. They follow proven workflows, hit predictable milestones, and communicate clearly about next steps. Chaotic editors create chaotic results.

Booking lead time sets expectations from the start. Busy editors book weeks or months ahead. If someone offers to start your novel tomorrow, they're either desperate for work or terrible at planning. Neither bodes well for quality results.

Popular editors might have 6-8 weeks lead time during busy seasons. Plan accordingly. Rush jobs cost extra and rarely deliver the same quality as properly scheduled work.

Project milestones break big jobs into manageable pieces. Developmental edits might work in thirds: first act review, middle section analysis, final act assessment. Each milestone includes feedback and gives you a chance to course-correct before the editor finishes.

Line edits often move faster, but should still include check-ins at 25% and 50% completion. This prevents nasty surprises and lets you clarify preferences early. If the editor's approach isn't working, better to know at the quarter mark than at delivery.

Revision windows protect both parties. After receiving developmental feedback, how long do you have to revise before the next editing stage? Most editors allow 2-4 months for major revisions, 2-4 weeks for line edit changes.

Missing revision deadlines usually voids timeline guarantees and might trigger rescheduling fees. Life happens, but professional editors book projects back-to-back. Your delays become their scheduling nightmares.

Q&A periods after delivery let you ask follow-up questions without starting the meter again. Reasonable editors include 1-2 weeks of email support after project completion. Complex questions might require additional consultation, but simple clarifications should be included.

Disagreement protocols matter more than you think. What happens when the editor suggests cutting your favorite scene? Professional editors expect pushback and handle it gracefully. They explain their reasoning, offer alternatives, and respect your final decision.

Red flag responses include "trust the process" without explanation, hurt feelings over questioned suggestions, or threats to withdraw from the project. You're hiring expertise, not surrendering creative control.

Timeline commitments should come with contingency plans. What happens if the editor gets sick? Miss a deadline? Needs extra time for complex problems? Backup plans demonstrate professionalism and reduce your anxiety.

Lock down the sequence and stick to it

The editing sequence exists for good reasons. Developmental first, then line editing, then copy editing, then proofreading. Jumping around creates expensive inefficiencies and subpar results.

Why developmental first? Because major changes make line edits obsolete. Cutting 20,000 words after line editing throws money away. Restructuring chapters after copy editing creates new consistency problems.

Why line editing before copy editing? Because improving sentence flow often fixes grammar problems organically. Copy editors work more efficiently on clean, well-structured prose.

Why proofreading last? Because typesetting introduces new errors. Proofreaders catch layout problems, orphaned words, and formatting glitches that earlier editors never see.

Get this sequence in writing. Include revision windows between stages. Add milestone payments tied to completion, not calendar dates.

Manuscript freezes during each editing stage prevent scope creep and protect your budget. Once you submit for developmental editing, stop revising until you get feedback. The editor's working on Version A. Your continued changes create Version B. Reconciling differences costs time and money.

Freeze protocols feel restrictive but save heartache. You'll think of brilliant improvements while the editor works. Write them down. Save them for the revision phase. Breaking the freeze mid-project creates chaos and usually voids timeline guarantees.

Developmental editing on 80,000 words becomes line editing on 95,000 words when authors keep tinkering. That's a different project with a different price. Professional editors build scope protections into their contracts and enforce them.

Some authors need multiple developmental passes before moving to line editing. Factor this into your timeline and budget. Two lighter developmental edits often work better than one heavy pass, especially for struggling manuscripts.

The sequence protects your investment. Follow it religiously, and you'll get better results for less money. Skip steps or jump around, and you'll pay twice for work that should have been done once.

Clear deliverables, systematic processes, and locked sequences separate professional editing from expensive disappointment. Get the specifics upfront. Your manuscript depends on it.

Editorial Philosophy, Tools, and Standards

Question 7: How do you preserve author voice and resolve disagreements on changes?

Voice sells the book. An editor’s job is to strengthen, not to repaint in a new color.

Listen for a collaborative approach. Queries first, rewrites last. Comments should read like questions and reasons, not orders. Examples help.

• Voice‑safe comment: “Narrator sounds formal here. Earlier pages feel looser. Keep formal, or return to the breezier tone?”
• Voice‑safe suggestion: “Consider swapping this abstract noun for a concrete image. Goal, more immediacy without losing the dry humor.”
• Heavy‑handed edit to avoid: “Rewrote paragraph for punch.” Three new sentences, none of them in your register.

Ask for a page from your manuscript marked two ways. One pass with queries and light touch. One pass with heavy rewrites. Compare. Your gut will know which partner respects the sound of your sentences.

Clear principles protect voice:

• Preserve idiom, rhythm, and sentence length patterns for each POV.
• Adjust for clarity before altering phrasing.
• Move or cut only when meaning, pacing, or logic requires a change.
• Flag patterns. Fix a line or two, then teach the pattern so you handle the rest.

Now, disagreements. They happen. You want a steady process, not a debate club.

• Expect rationale in comments. “Cutting here lifts tension because the goal repeats” beats “Trim.”
• Expect options. “Three ways to fix timeline: move scene, compress days, or switch to summary.”
• Expect respect for your call. You own the book. A professional pushes hard on outcomes, not on ego.

A quick script you can use:

• “Please default to queries for tone and humor. Suggest alternatives only when meaning breaks.”
• “If a change risks voice, mark with VOICE flag. I will review each one.”

Mini‑exercise: pick a paragraph with strong voice. Ask the editor to improve clarity without touching figurative language, sentence rhythms, or slang. Compare before and after. No lost flavor, sharper sense, green light.

Question 8: Which style guides and tools do you use, and how do you handle fact‑checking, references, and sensitivity issues?

Standards keep a book steady from page 1 to page 400. Ask for the stack.

• Style guide: Chicago Manual of Style for books. If writing for journalism or tech, a different guide might fit. Confirm up front.
• Dictionary: choose one primary source. Many editors use Merriam‑Webster. Ask which edition.
• Consistency tool: PerfectIt or an equivalent checker for hyphenation, numbers, and recurring slips.
• File environment: Word with Track Changes or Google Docs with Suggesting. Confirm version control, backup habits, and naming conventions.

Expect a living style sheet. This document records decisions so new changes never break old ones. Contents often include:

• Names, nicknames, honorifics, and preferred spellings.
• Place names, invented terms, ship names, spell lists, tech jargon.
• Capitalization choices for organizations and titles.
• Hyphenation decisions, open vs closed compounds.
• Numbers and dates, units, time stamps, and era formats.
• Dialogue punctuation and dialect rules, including any marked grammar bends.
• Series continuity notes. Ages, birthdays, eye colors, pets, vehicles.

Ask about fact‑checking boundaries. Most book editors flag risks, authors verify. A clear split helps:

• Editor flags suspicious data, math, and timelines.
• Author supplies sources, or hires a researcher for deep work.
• For memoir and nonfiction, agree on citation style and source list format early.

Sensitivity and representation deserve the same rigor. An editor should:

• Query stereotypes, harmful tropes, and loaded descriptors.
• Flag identity terms and pronouns for consistency and respect.
• Recommend sensitivity readers for lived‑experience review. Ask for referrals, scope, and budget ranges.
• Document choices on the style sheet so future books in a series stay aligned.

A quick test during hiring:

• Ask which issues they tend to query in your category. For example, law and medical accuracy in thrillers, consent language in romance, worldbuilding consistency in epic fantasy, or colonial framing in travel memoir.
• Ask how they phrase tricky queries. You want calm tone, precise language, and room for your intent.

Workflow with tools should feel boring in the best way. Predictable steps, clean files, no mysteries:

• Receive a copy of the style sheet at kickoff, mid‑project, and delivery.
• Receive a brief log of global changes at handover. Spelling shifts, hyphenation decisions, character name updates.
• Receive a summary of open questions. A checklist beats a scavenger hunt.

Action: Help the editor preserve voice and speed consistency work

Send a starter pack with your files. This saves hours and prevents avoidable errors.

• Voice brief, one page:
  • Comparable authors or titles for tone.
  • Rules for slang, sentence length, and formality by POV.
  • Lines you love, three examples marked DO NOT FLATTEN.
• Style sheet starter:
  • Names and pronunciations.
  • Place names and map terms.
  • Capitalization preferences for ranks, teams, magic systems, tech terms.
  • Numbers and dates: numerals vs words, time format, era details.
  • Hyphenation preferences for common compounds in your book.
  • Spelling choices that diverge from the dictionary, with reasons.
• Genre conventions list:
  • Tropes you honor.
  • Tropes you avoid.
  • Heat level or gore ceiling if relevant.
  • Content warnings for the editor’s awareness.
• Terminology glossary:
  • Definitions for invented terms or professional jargon.
  • Units, abbreviations, and formula formats for science or finance.
• Sources and research notes:
  • Key references with links.
  • Known soft spots where a flag would help the most.

One last habit that separates smooth projects from messy ones. When you reject a change, leave a brief note on why. Pattern notes teach the editor your voice, which reduces similar edits on later pages. The work moves faster, the book stays yours, and readers hear the voice you intended, only sharper.

Pricing, Contracts, and Risk Management

Question 9: How do you price your services, what could change the quote, and how do payments work?

Money talk makes writers squirm. Get comfortable fast. Clear pricing protects both sides and prevents ugly surprises.

Ask for the base rate first. Most editors quote per word, per page, or flat fee. Per word gives you the cleanest comparison across editors. If they quote flat fee or hourly, ask them to break it down to cost per word so you can compare apples to apples.

Typical ranges as of 2024:

• Developmental editing: $0.08–$0.15 per word
• Line editing: $0.05–$0.12 per word
• Copy editing: $0.03–$0.08 per word
• Proofreading: $0.02–$0.05 per word

Rates vary by editor experience, genre complexity, and manuscript condition. Literary fiction often costs more than romance. Technical nonfiction costs more than memoir. Academic work costs the most.

Now, the gotchas. What bumps the price up?

Heavy edit surcharges. Some manuscripts need extra passes. Developmental work on a broken structure. Line editing on stilted prose. Ask when they apply surcharges and how much. Range often runs 25–50% above base rate.

Rush fees. Need it in two weeks instead of six? Expect 20–50% premium. Fair enough. Weekend and holiday work costs extra everywhere else.

Scope creep charges. You submit 80,000 words, then add three chapters during editing. Expect to pay for the new material at agreed rates. Some editors build small buffers into quotes. Others charge strict overages.

Format complexity. Footnotes, tables, multiple POVs, nonlinear timelines, or embedded documents add time. Ask if your manuscript has pricing factors.

Multiple passes. Developmental editors sometimes include one revision review. Others charge for each look. Clarify upfront.

Payment schedules matter for cash flow. Common structures:

• 50% deposit, 50% on delivery
• 25% booking, 25% at start, 50% on delivery
• Monthly payments for long projects
• Full payment upfront for small jobs under $1,000

Ask about refund policies. Professional editors should offer partial refunds for work not completed, minus a kill fee. Expect 10–25% kill fees for cancellations after work begins.

Payment methods vary. PayPal, bank transfer, check, or invoicing through platforms like FreshBooks. Ask about international transfer fees if you're working across borders.

Get a written quote with line items. Sample format:

• Base editing: 75,000 words × $0.06 = $4,500
• Style sheet and edit letter: included
• Rush delivery (4 weeks vs 8 weeks): +$900
• Total: $5,400
• Payment: $2,700 deposit, $2,700 on delivery

One red flag. Editors who refuse to discuss money clearly or provide written quotes. Another red flag. Editors who demand full payment upfront for large projects. A third red flag. Rates significantly below or above market range without explanation.

Question 10: What are the contract terms around scope, confidentiality, IP, cancellations, and rescheduling?

Handshake deals break hearts and bank accounts. Every editing relationship needs a contract, even with your best friend's sister who edits on weekends.

Scope protection. The contract should list exactly what you get. Word count limits, deliverables, number of revision passes, response time for questions, and deadline. Without scope boundaries, projects expand like gas in a vacuum.

Example scope language:

• "Line editing of 80,000-word fantasy novel, including style sheet, edit letter (2–3 pages), and margin comments. One revision pass included for changes under 10% of original word count. Additional passes billed at $X per hour."

Intellectual property. You own your manuscript. The editor owns their comments and edit letter. Neither party should sell or share the other's work without permission. Simple and standard.

Confidentiality. Professional editors sign NDAs. Your story stays private until you publish. They should not discuss your plot, share sample pages, or name you as a client without permission. Exception: general testimonials with your approval.

Timeline commitments. Delivery dates for both parties. You provide clean files by X date. Editor delivers by Y date. Include buffer time for delays, illness, or family emergencies. Life happens.

Revision windows. How long do you have to review and respond? Most editors allow 30–60 days for developmental feedback, 14–30 days for line editing review. After the window closes, new rounds of editing become separate projects.

Cancellation terms. Either party should have an exit ramp. Common terms:

• 48-hour cancellation window after contract signing
• Kill fees of 10–25% for cancellations after work begins
• Partial payment for work completed if you cancel mid-project
• Full refund if editor cancels before starting

Rescheduling flexibility. Your book launch moves up three months. Editor's parent ends up in the hospital. Build rescheduling terms that work for real life. Most professionals allow one schedule change without penalty.

Dispute resolution. How do you handle disagreements? Most editing contracts include escalation steps:

1. Direct discussion between author and editor
2. Mediation through professional organizations (Editorial Freelancers Association, etc.)
3. Small claims court for financial disputes

Force majeure. Fancy term for "acts of God." Pandemics, natural disasters, major illness. Contracts should pause deadlines during genuine emergencies, not extend them indefinitely.

Jurisdiction and governing law. Where would legal disputes get resolved? Usually the editor's home state or country. Matters most for international collaborations.

Sample contract checklist:

• [ ] Scope: word count, deliverables, revision passes
• [ ] Timeline: start date, delivery date, response windows
• [ ] Payment: amount, schedule, refund terms
• [ ] Confidentiality: NDA language, sharing permissions
• [ ] IP: ownership of manuscript vs editing work
• [ ] Cancellation: notice period, kill fees, partial refunds
• [ ] Changes: rescheduling terms, scope modification process
• [ ] Disputes: escalation steps, governing law

Read before you sign. Ask questions about confusing language. A professional editor wants you to understand the agreement.

No contract at all? Walk away. Someone who handles your book casually will handle your deadlines and quality the same way.

Action: Compare quotes accurately and protect your investment

Editing quotes look deceptively simple. Three numbers on a page. Reality involves more complexity.

Normalize quotes for comparison. Convert everything to per-word rates including all fees and deliverables.

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