Common Mistakes Authors Make When Hiring An Editor

Gary Smailes | 18 November 2025

Not Defining the Editing You Need

Hiring a proofreader for a messy draft feels thrifty, until those typos sit on top of a wobbly story. Readers forgive a stray comma, not a broken plot. Define the edit before you sign a contract.

Here is a plain map of the four stages. Match the service to the draft in front of you.

• Developmental editing
  • Focus: big picture. Structure, plot, pacing, stakes, character arcs, theme, argument for nonfiction.
  • Use when: chapters still move, scenes lack clear goals, middle sags, beta readers feel lost.
  • Deliverables: editorial letter with priorities, scene or chapter map, inline queries about purpose and order.
• Line editing
  • Focus: sentence rhythm, clarity, tone, flow, voice. Repetition and filler, awkward phrasing, uneven imagery.
  • Use when: story makes sense, yet pages feel heavy or flat, dialogue drifts, jokes miss.
  • Deliverables: Track Changes on the manuscript, comments explaining choices, a brief voice note with patterns to watch.
• Copyediting
  • Focus: grammar, usage, punctuation, spelling, hyphenation, numbers, capitalization, references to style guides. Consistency across names, timelines, world terms.
  • Use when: prose already reads well, you want a clean, consistent text.
  • Deliverables: a corrected file, a style sheet recording decisions and terminology.
• Proofreading
  • Focus: last pass for typos, missing words, spacing, page numbers, headers, widows and orphans, final punctuation slips. For print, this follows layout. For ebooks, this follows final conversion.
  • Use when: all major edits are done, you are preparing files for publication.
  • Deliverables: marked pages or a corrected proof, a short list of recurring issues.

A fast way to pick the right level

• If you still juggle chapter order or viewpoint, choose developmental editing.
• If plot holds but sentences stumble, choose line editing.
• If voice sings and you want a rules check, choose copyediting.
• If files are ready for publication, choose proofreading.

A quick self‑assessment you can run this week

Set a 25 minute timer. Grab your first three chapters and a notepad.

1. Read page one aloud. Mark every moment of confusion or boredom. If three or more marks appear, structure or opening focus needs work, so developmental editing moves first.
2. Write one sentence per chapter, goal and change only. If a chapter summary needs two or three clauses to explain basics, structure needs attention.
3. Skim the middle third. Circle filler words, repeated beats, and sentences with three or more prepositional phrases in a row. Heavy circles point toward line editing.
4. Pick a scene with dialogue. Read only dialogue lines. If voices blur, line editing helps with tone and cadence.
5. Open a random page. Look for numbers, capitalization of terms, and hyphen patterns. Inconsistency points toward copyediting.
6. Save a PDF of a formatted chapter. Scan for rivers, wonky breaks, and missing punctuation at line ends. Proofreading lands last.

How each level treats the same line

Original line

“I walked across the room, feeling tired and a little afraid.”

• Developmental edit

  Why cross the room here. What goal sits inside this move. Who or what stands in the way. Raise or clarify stakes so the action matters.

• Line edit

  “Tired” and “afraid” tell, not show. Try concrete detail and rhythm. Example, “I crossed the room, knees soft, pulse climbing.” Decide on tone for the whole scene, then align sentence length with that mood.

• Copyedit

  Check comma use and parallel structure. Confirm consistent hyphenation elsewhere, confirm room names and capitalization match the style sheet.

• Proofread

  Fix double spaces, stray quotes, or a missing period. Scan for spacing errors after punctuation.

When to request a manuscript assessment

If you feel unsure, ask for a short diagnostic before a full edit. A good assessment includes:

• A one to three page letter naming top risks and strengths.
• A page or two of inline comments on a representative chapter.
• A recommended level of edit with reasons tied to your pages.

Use this prompt in your email:
“My goal, a clear plan for next steps. Please review the attached chapter and a one page synopsis, then advise on level of edit. A short rationale tied to examples from the sample would help.”

Questions to ask before you book

• Which level fits this draft, and why. Please point to three moments in the sample that drove your choice.
• What deliverables arrive at this level. Editorial letter length, inline comments, style sheet, and whether a debrief call is included.
• What falls outside this level. For example, no big rewrites during copyediting, or no layout fixes during proofreading.
• How many passes. Will you review a short revision on key pages.

Expect a clear answer in plain language. Vague replies hint at scope drift later.

Two small case studies

• Novelist A hired a proofreader for a 120,000 word debut. Reviews from early readers mentioned confusion and slow pacing. A later developmental edit cut 25,000 words and moved three reveals. Money and months lost. Sequence matters.
• Memoirist B booked a developmental edit first. The editorial letter mapped a new opening and shaped a three‑act arc. A tight line edit followed. Proofreading wrapped the project. Publication went smoothly because every stage solved the right problem.

Define needs, then hire. Your future self, and your readers, will thank you.

Choosing on Price and Speed Over Fit

Lowest bid. Fastest return. Great for pizza. Terrible for your book.

A thriller writer hired a bargain editor. Two weeks later, files came back. Clean commas. Same sluggish first act. Reviews from beta readers still said, slow, confusing, no stakes. Money gone, launch delayed, morale flat. The fix cost double.

Price and speed signal scope. A rock-bottom quote often equals one pass, few comments, light touches, no coaching. A 100,000 word promise in forty eight hours signals a skim. You want depth, not a drive-by.

Here is how to compare proposals like an adult at the kitchen table, pen in hand.

• Level of edit. Developmental, line, copy, proof. Each solves different problems.
• Number of passes. One pass is a sweep. Two passes allow a check on revisions.
• Editorial letter. Is there a letter, and how long. One to two pages, or ten to fifteen, with priorities.
• Inline comments. Are you getting queries and examples, or only silent changes.
• Style sheet. Will they build one. Entries for names, hyphenation, capitalization, numbers, timelines, world terms.
• Debrief call. Is there a call to walk through big decisions and next steps.

Ask for a clear list, not promises. Then line up offers side by side. You want like-for-like.

Spot the red flags

• “100k in 48 hours.” Ask how many words per hour. Most pros handle real work at human speed. Developmental editing thrives on thinking time, not typing speed.
• “Flat fee, unlimited revisions.” Unlimited often hides a ceiling.
• “I will rewrite your voice.” Hard pass. The best editors preserve voice and explain choices.
• No mention of style guides. Look for Chicago Manual of Style and Merriam-Webster. For fiction, also look for house rules tailored to your world.
• No process. No milestones, no file versions, no Q&A window.

Read between the rates

An edit is time plus attention. Here is a rough picture many working editors use.

• Developmental edit on a novel. Weeks, sometimes a month or more, with reading, notes, mapping, and a deep letter.
• Line edit on a novel. Slower than copyediting. Hundreds of small decisions per page. Often two to four weeks for a full-length manuscript.
• Copyedit. Faster than line, slower than proof. Consistency sweeps, references checked, comments on logic and continuity.
• Proofread. Last pass, after layout or final conversion, focused on surface errors.

When a quote ignores this reality, expect a superficial pass. When a quote explains timing and boundaries, trust grows.

A quick exercise before you say yes

Take two proposals. Use the same five sample pages you sent. On a sheet, make six lines.

• Level of edit.
• Passes.
• Editorial letter, length and focus.
• Inline comments.
• Style sheet.
• Debrief call.

Fill in each line for both proposals. If blanks appear, ask. If answers feel fuzzy, walk away.

What value looks like in practice

• Rationale in plain language. “Chapter three repeats the beat from chapter one. Move the reveal to chapter six, raise tension, and cut two scenes that retread the same ground.”
• Citations for rules. “Hyphenation follows Chicago, decision recorded in the style sheet.” “Dictionary is Merriam-Webster, online edition.”
• Voice protection. “Swapped three filler words, kept your clipped cadence. Maintained your slang choice, logged in the sheet for consistency.”
• A focus on teaching. Not orders. Options with reasons. You leave smarter, not confused.

How to work within a budget without gutting quality

• Start with a manuscript assessment. A short diagnostic with top issues and a plan often saves a round later.
• Test with a paid sample. Ten pages, a chapter, or the first 3,000 words. Look at depth, tone, and respect for voice.
• Phase the work. Developmental edit first. Pause for revisions. Then line or copy. Proof last. Separate invoices by stage.
• Book early. Good editors schedule months out. Early booking avoids rush fees.
• Prioritize problem areas. If funds run tight, target an intensive pass on the opening, the middle sag, and the ending. Fill gaps with strong beta reads guided by the editor’s notes.

Questions worth asking before you sign

• Where do you see the main problems, and which level of edit fits. Please point to three spots in the sample that drove your view.
• How many passes. What arrives at each stage.
• Which style guides inform your decisions. Will you build a style sheet for names, terms, and hyphenation.
• How will you help preserve my voice. What kinds of changes will you avoid.
• What timeline suits the level of work. How do you handle questions during the project.

One last thought. You are hiring judgment, not keystrokes. The right editor will slow down where the book needs care, then explain why. A lower price looks sweet until readers quit at page fifty. Pick fit, and your edits will hold.

Skipping Vetting: Samples, References, and Credits

Hiring blind burns money and time. A novelist sent a deposit to an editor with a glossy website and no sample. The edit returned with flattened voice, random rewrites, and no queries. Weeks lost. Budget gone. Launch pushed. A simple sample would have warned them.

Ask for a sample edit

Request five to ten pages with Track Changes in Word or Suggestions in Google Docs. Pick a section with dialogue, a descriptive beat, and one tricky paragraph. You want to see judgment at work, not only comma swaps.

Send the exact same pages to two or three editors. Explain your goals in one short paragraph. Genre, target reader, comps, and any non‑negotiables. Then wait for the sample, not a sales pitch.

How to read a sample like an editor

Open Track Changes. Look for three things.

• Clarity. Do comments flag confusion, repetition, timeline slips, weak transitions. Do they mark vague pronouns and unclear stakes. Are suggestions precise.
• Rhythm and voice. Do sentence edits respect your cadence. Are trims light where needed. Do they show options, not wholesale rewrites in a different voice.
• Reasoning. Do comments say why. “Tension drops here because viewpoint drifts.” “Dialogue tag repeats info. Trim for pace.” Explanations matter.

Count whispers versus shouts. A strong sample includes questions, examples, and a few references to sources. Chicago Manual of Style. Merriam‑Webster, online edition. House decisions collected in a style sheet. Silence on standards equals guesswork.

Red flags in samples:

• A page full of rewrites, no queries.
• Only surface fixes on a messy chapter.
• Generic praise lines. “Great work,” “Love this,” with no specifics.
• Zero mention of genre norms or reader expectations.
• Refusal to provide any sample. A short paid sample, fine. A flat no, risky.

Verify credits without drama

Ask for three recent projects in your category. Request ISBNs and roles. Line edit, copyedit, proofread, or developmental. Then check.

• Acknowledgments page. Authors thank editors by name. Use Amazon Look Inside or Google Books to view front and back matter.
• Library and retailer listings. Compare ISBN and publication date. Does the timeline match what you were told.
• Author websites. Many list editors in a book’s credits or blog posts about the process.

If a project is under a non‑disclosure agreement, ask for anonymized samples or general descriptions. “Second‑world fantasy romance, 110k, line edit, indie release in spring.” Then ask for two authors who will speak privately.

How to use references

Ask for two or three author contacts. Email three focused questions.

• What level of edit did you hire, and how did the scope show up in files and letters.
• How did the editor handle voice and tone. A quick example helps.
• How was communication. Response time, delivery to schedule, willingness to explain decisions.

Look for consistent, specific answers. “She trimmed dialogue tags, tightened action beats, and asked smart timeline questions. The edit letter mapped fixes by chapter. Two passes, both on time.” Vague praise tells you little.

Memberships and real experience

Professional groups, such as EFA, CIEP, and ACES, signal a baseline of standards. Good sign. Not proof. Pair membership with proof of work in your lane. Mystery. Epic fantasy. Memoir. Narrative nonfiction. Ask what makes your category different. Listen for references to length norms, common pitfalls, and current comps. Ask how they would position your book on a shelf.

When a sample is tricky

Some developmental editors do not mark up pages during discovery. They offer a paid diagnostic instead. A shorter read with a brief letter outlining top issues and suggested level of edit. That works as a vetting tool too. Ask for a one‑page memo sample from a prior project, with client name removed.

If budget is tight, request a paid ten‑page sample rather than a free one. Paying removes pressure on the editor to rush. You gain a truer picture of their process.

A quick vetting workflow

• Pick the same five to ten pages. Include a scene with dialogue, movement, and a quiet moment.
• Send pages to two or three editors with the same short brief.
• Review samples side by side. Mark clarity, voice respect, and reasoning.
• Ask for two or three references and three ISBNs with role listed.
• Check acknowledgments and listings. Note dates and genres.
• Confirm memberships, then press for recent, relevant work.
• Choose based on fit and evidence, not charm and speed.

What a good sample feels like

You see queries that meet your book where it lives. “This joke lands, keep.” “This metaphor fights tone, swap for a concrete image.” “Reader needs the goal by page three, suggest moving this beat.” You see rules in use, not waved away. And you finish reading with a sense of partnership. Not a takeover.

Vetting takes a few hours. Skipping vetting costs weeks. Demand proof on the page, names in print, and authors who will vouch without hesitation. Your book deserves that level of care.

Vague Scope, Deliverables, and Contracts

Handshake deals feel friendly. Then a month slips by, pages return with half the edits you expected, and a surprise invoice arrives. No villain here, only fuzzy expectations.

Clarity prevents drama. Professional editing runs on a written scope of work, a timeline, and named deliverables. No guesswork. No wishful thinking. Here is how to lock this down before a single comma gets touched.

Define scope before price

State the level of edit first. Developmental. Line. Copyedit. Proofreading. Describe the focus in plain terms:

• Developmental: structure, plot, pacing, character arcs, argument flow for nonfiction.
• Line: voice, rhythm, sentence clarity, paragraph flow.
• Copyedit: grammar, usage, consistency, fact flags, formatting decisions tied to a style guide.
• Proofreading: final pass for typos after layout or final formatting.

Then specify number of passes. One pass or two. If two, describe what each pass includes. Add what falls outside scope. Formatting, indexing, permissions, beta reading, sensitivity reads, marketing copy. State exclusions so no one drifts into them midstream.

Name deliverables

Do not settle for “I will edit your book.” List what arrives, in what form.

• Inline edits and queries, in Word with Track Changes or in Google Docs with Suggestions.
• Editorial letter: length range, focus areas, examples referenced by chapter or page.
• Style sheet: decisions on spelling, hyphenation, capitalization, numbers, dialogue formatting, character and place names. Include a column for sources used.
• Debrief call: length, agenda, recording or no recording.
• Q and A window: how long, response times, limits on scope.

If the editor implements approved changes after your review, note this as a separate task with a deadline. If you will implement changes, schedule time for that work before any second pass.

Set a timeline with milestones

Dates matter. Put anchors on the calendar.

• Kickoff call: goals, audience, comps, non negotiables.
• Sample chapter check: one early chapter edited within the first week, so you both confirm approach.
• Midpoint check: quick pulse on scope, questions, any risks to timeline.
• Delivery of edits: a clear date, not “end of month”.
• Debrief call: a date within a week of delivery.
• Q and A window: start and end dates.
• Second pass or proof pass: dates, if included.

Life happens. Build one buffer week into longer projects. Make changes to the schedule in writing.

Put money terms in plain sight

No hazy math. Spell out pricing and payment.

• Pricing basis: per word, per hour, or flat project fee. Include word count used for pricing.
• Payment schedule: deposit amount, mid‑project payment if any, final payment trigger.
• Revision policy: what a revision includes, how many pages or hours, what prompts a new fee.
• Rush fees: what qualifies as a rush, percentage or rate.
• Kill or cancellation terms: how to end the project, notice period, what fees apply.
• Late payment terms: dates, grace period, late fees.
• Confidentiality and NDA: short clause or a separate agreement, signed before file transfer.

Invoices should match the contract. Ask for a unique invoice number, services listed, and due dates. Boring, yes, and also where many fights start.

Confirm workflow and tools

Name the tools. Different tools create different friction.

• Word with Track Changes or Google Docs with Suggestions.
• Version control: file names with dates, version numbers, storage location.
• Backup plan: where files live, who owns the folder, who grants access.
• Comments protocol: where to discuss changes, within the doc or in a shared note.
• File format on delivery: DOCX, clean copy plus marked copy, PDF of the editorial letter.

State who accepts or rejects changes between passes. State who compiles the style sheet and when updates arrive.

Cite standards

Ask which references guide decisions. Chicago Manual of Style for books, Merriam‑Webster for spelling, a house dictionary if relevant. If a different style guide fits your field, name it. Add a note on regional choices, for example US versus UK style. These choices answer dozens of small questions before they slow you down.

A quick story from the trenches

An essayist hired on a handshake for a “quick polish.” No scope, no deliverables. The editor rewrote voicey lines, trimmed sections promised for a magazine excerpt, and added citations in a style the author did not use. The relationship frayed. When we reset with a contract, the fix was simple. One pass of line edits with comments only, no rewrites. A two page letter on patterns. A thirty minute call. Harmony restored.

Red flags to avoid

• “I do everything.” No specifics on level or deliverables.
• “Pay in full to hold a date,” with no contract.
• Refusal to use Track Changes or Suggestions.
• Vague letter promises, for example “notes on your book,” no length or focus.
• No style sheet, or “I keep those in my head.”
• Endless Q and A with no limit. Or no Q and A at all.
• A timeline described as “flexible,” with no dates.

A contract template you can request

Editors write different contracts, yet strong ones share a spine. Ask for language that covers:

• Parties, project title, word count used for pricing.
• Level of edit, number of passes, inclusions and exclusions.
• Deliverables with format, length, and dates.
• Tools and workflow, versioning, storage.
• Style guides and dictionaries.
• Pricing basis, payment schedule, rush fee, late fee.
• Revision scope, second pass terms.
• Kill clause and cancellation terms.
• Confidentiality and NDA.
• Credit in acknowledgments, if both agree.
• Dispute resolution and governing law, short and plain.

Short wins. Two to three pages usually handle a book edit. Read every line. Ask questions before signing.

A five step setup you can finish this week

1. Write a one paragraph brief with book type, audience, comps, and level of edit requested.
2. Ask for a scope and deliverables list tied to that brief.
3. Request a timeline with milestones.
4. Confirm pricing, payment, and revision terms.
5. Lock tools, file naming, and style standards.

Clarity on paper protects your voice, your schedule, and your budget. A good editor will welcome this level of detail. The work runs smoother. The book benefits. You sleep better.

Overlooking Genre, Market, and Publishing Path Fit

Genre, market, and publishing path shape the edit. Skip this, and money goes toward the wrong work. A generalist might smooth sentences, while readers in your niche want sharper stakes or a faster first act. Fit matters.

A genre fluent editor knows reader promises and pressure points. Expect sharp eyes on trope use, pacing norms, heat levels, content warnings, and word count ranges. Expect informed guidance on self publishing versus traditional routes. Different routes ask for different deliverables and different polish.

Start with genre expectations

Readers arrive with a checklist in the head, even if no one wrote it down.

• Romance: central love story, a satisfying ending, clear heat level signaled up front, word counts by subgenre.
• Thriller: a hook in the first pages, rising jeopardy, reveals planted with fairness, tight chapter endings.
• Epic fantasy: world logic, timeline tracking, a magic system with rules, maps and glossaries kept consistent.
• Memoir: a focused story spine, truth claims handled with care, legal risk assessed, scene versus reflection balance.
• Business nonfiction: clear promise to the reader, takeaways per chapter, charts that match text, up‑to‑date sources.

An editor inside your lane will name comps without pausing. Ask for three. Ask why those comps work, where your draft aligns, and where your draft departs in a strategic way.

Market position and reader promise

Positioning shapes editorial choices. A cozy mystery for Kindle Unlimited behaves differently from a hardcover literary mystery aimed at awards and reviews.

Ask:

• Where would a bookseller shelve this, and why.
• Which keywords and categories match reader search behavior.
• Which tropes need honoring, and which tropes deserve a twist.
• Which word count range suits the category and price point.
• Which content warnings need posting for retailer pages and ARC teams.

Listen for fluent, current answers. Vague hand‑waving equals guesswork.

Publishing path changes the brief

Traditional route:

• Query package alignment, submission‑ready polish, Chicago Manual of Style norms, Merriam‑Webster for spelling.
• Word counts in range for the list, not “my friend says longer is fine.”
• A synopsis that tracks the story spine, not a sales blurb.
• An editorial letter geared toward agent and editor expectations.
• Awareness of permissions, quotes, lyrics, and other rights issues.

Self publishing:

• Reader‑first clarity in the first 10 percent, where ebook samples live.
• Series planning, a series bible, character and timeline continuity across volumes.
• Retailer category choices, back matter hooks to the next book, ARC workflows.
• House style choices documented in a style sheet, since you are the house.
• Print specs, front matter sequence, and metadata that match your strategy.

Ask an editor for experience on your chosen path. Look for examples that match your subgenre and publishing plan.

Questions to ask before hiring

• How would you position this book to readers?
• Which three comps would you use on a submission sheet or on a retailer page, and why?
• Where do you see risk for reader disappointment, and how would you address that in the edit?
• Which content warnings, if any, belong on product pages or in front matter?
• What word count range suits this category today?
• For traditional, what would you prioritize before querying?
• For self publishing, what would you prioritize before ARC distribution?

Strong editors answer with specifics tied to your pages, not slogans.

Sample pages should reveal genre fluency

Send the same 10 pages to two or three editors. Ask for queries in the margins, not a rewrite. You want to see the thinking.

Compare:

• Do notes reference genre signals and reader expectations?
• Do suggestions preserve your voice while nudging toward market norms?
• Do questions probe world logic, heat level, stakes, and payoff timing?
• Do comments cite Chicago Manual of Style, Merriam‑Webster, and a style sheet for decisions?

Pick the person who shows deep reading and a respectful touch.

Red flags

• “I edit everything.” No subgenre list, no comps offered.
• Word count advice out of line with current lists in your niche.
• Shrugging at content warnings for categories where readers expect them.
• No knowledge of retailer categories, keywords, or BISAC codes for self publishing.
• For traditional, no awareness of agent tastes, imprint lists, or submission norms.
• A sample that flattens voice or rewrites in a house style from another category.
• Hand‑waving on legal risk for memoir or nonfiction with quotes and interviews.

When extras matter

Some projects need specialists. Sort this up front.

• Sensitivity reading for lived experiences outside your own, with a paid expert.
• Fact checking for dates, quotes, statistics, and timelines.
• Legal review for memoir, true crime, medical or financial claims.
• Technical review for science, engineering, or code examples.
• Translation review for multilingual dialogue and names.

Ask whether the editor offers referrals and how those pros fit into the schedule.

A quick story

A thriller writer hired a line editor known for lyrical literary work. Gorgeous sentences followed, along with a sagging midpoint, soft twists, and a 130,000‑word count. Readers bailed. A reset with a thriller editor trimmed to 95,000 words, punched up reversals, and tightened chapter endings. Same voice, better engine. Sales and reviews reflected the shift.

Mini‑exercise for clarity

Take ten minutes.

• Write a one‑sentence promise to your reader. Example: “A fast, twisty small‑town thriller with a fierce mother at the center.”
• List three comps from the last five years. Note why each comp belongs.
• Note one trope you want to honor and one you want to twist.
• Write the target word count range.
• Decide on path: traditional or self publishing.

Send this to prospective editors with your pages. Watch who responds with energy and precision. Those replies reveal fit before any contract goes out.

Right editor, right genre, right path. Fewer surprises. Stronger book. More satisfied readers.

Communication and Voice Mismatches

Two problems sink many author editor relationships. Heavy rewriting in the editor’s voice. Silence between milestones. Both feel like betrayal, and both are avoidable.

The right editor works like a coach. Your voice stays on the page, stronger and cleaner. Notes arrive with reasons, choices, and respect. Final calls stay with you.

Start with a kickoff call

Fifteen to thirty minutes will save weeks of friction. Use a quick agenda.

• Goals. Name the outcome you want from this round. Clarity of story, line polish, query readiness, or proofread only.
• Voice notes. Share a paragraph you love from your pages, plus a paragraph you dislike and why. Add two author comps for tone.
• Non‑negotiables. Words you refuse to use, topics off limits, a key scene you refuse to cut, house spellings you prefer.
• Scope and cadence. Number of passes, due dates, check‑in points, response‑time norms for both sides. For example, replies within two business days.
• Tools. Track Changes or Google Docs, file naming, versioning, backup plan, time zone reminders.

Listen for a summary at the end. A professional will reflect back your goals and outline next steps in writing.

Build a simple voice brief

Give your editor a map, not a muzzle.

• Tone in three words. For example, warm, wry, lean.
• Sentence rhythm. Short and punchy, or long and lyrical, or a mix.
• Vocabulary level. Plain language, or specialist terms where needed.
• Dialogue rules. Few tags, or descriptive beats, or a mix.
• Taboo edits. No rewriting of jokes, no shifts from first person to third, no flattening of regional phrases.

Drop this into the contract packet or kickoff email. Expect the style sheet to mirror these choices.

Read the sample edit like a pro

Ask for five to ten pages with Track Changes on. Look for thinking, not takeover.

Promising signs:

• Queries that ask smart questions. Where stakes rise, where a beat lingers, where a joke lands.
• Rationale for changes. A brief why next to every major shift.
• Options offered. Two or three phrasings, with your voice intact.
• Tone that feels collegial. Clear, direct, never snide.
• Style guidance that cites sources. Chicago Manual of Style, Merriam‑Webster, house exceptions listed on a style sheet.

Alarming signs:

• Rewrites that roll over your rhythm.
• Heavy swaps to the editor’s pet phrasing.
• Generic comments. “Tighten here.” “Awkward.” No reason given.
• Silence on bigger issues promised in the scope.

Compare samples from two or three editors using the same pages. Pick the mind that strengthens your voice without taking the wheel.

Set expectations for communication

Clarity beats assumptions. Add these details to the agreement.

• Check‑ins. Weekly email update, even if progress equals steady march.
• Response times. Two business days for questions. Faster for emergency blockers.
• Escalation plan. If a deadline slips, who speaks first, and when.
• Feedback format. Inline queries, an editorial letter, or both.
• Revision window. Time for follow‑up questions after delivery, and how many rounds.

Boundaries protect focus for everyone. You want a partner, not radio silence or micromanagement.

Handle disagreements without drama

Disagreement will surface. Plan for a clean process.

• Ask for the why. What rule, reader expectation, or story logic sits behind a note.
• Offer alternatives. “I see the clarity issue. How about this phrasing to keep my slang in place.”
• Capture decisions in the style sheet. Preferred terms, punctuation choices, capitalization, character names, timeline rulings.
• Use comments, not emails, for line‑level choices. Keep the record next to the text.

A strong editor will welcome pushback when the voice is at stake. The best edits sound like you, only clearer.

A quick story from the trenches

A memoirist hired a technical editor from a software firm. Grammar improved, but every joke lost its timing. Regional language went missing. Friends said the narrator sounded like a stranger. A second round with a memoir pro restored cadence, flagged legal risk, and kept hard‑won humor intact. Same pages, new respect for voice, relief all around.

Mini‑exercise, five minutes

• Pull one page from your draft, a favorite. Pull one you avoid reading aloud.
• Mark three sentences per page that feel most you. Note why.
• Write three words for tone. Add two author comps.
• Send those notes with your sample request. Ask, “How would you preserve this voice while improving clarity. Please show examples on these lines.”

Replies will tell you everything. Look for curiosity, precision, and a steady hand.

Red flags to watch for

• “I prefer my way,” without a reason tied to readers or standards.
• A sample that replaces slang, regional flavor, or humor with neutral phrasing.
• No style sheet. No mention of Chicago Manual of Style or Merriam‑Webster.
• Missed check‑ins, vague delivery dates, excuses every week.
• An editorial letter full of commands, no questions, no options.

One last reminder. You are hiring a partner, not a ventriloquist. Guard your voice, set clear rhythms for communication, and ask for thinking on the page. That mix yields a strong edit and a stronger book.

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