How To Choose The Right Editor For Your Book

Gary Smailes | 18 November 2025

Know the Types of Book Editing

Editing is not one thing. It is four different jobs. Pick the right one, and you save time, money, and nerves.

Developmental Editing

This is big-picture work. Story and structure. Plot, character arcs, pacing, theme.

Expect an editorial letter, often 8 to 20 pages, plus margin notes. You will see comments on stakes, scene aims, and cause and effect. Think shifting scenes, merging characters, cutting subplots, rethinking point of view.

A quick example. Your hero wins a major fight at page 120, then wanders for three chapters. A developmental edit will say, raise the midpoint stakes or move that win later. Or both. Another note might read, Chapter 3 repeats Chapter 1’s emotional beat. Combine or cut.

Deliverables often include:

• Editorial letter with priorities and next steps
• Inline comments on turning points and scene goals
• A map of the book, act by act, or a beat sheet
• Optional call to walk through the plan

Try this. Write one sentence for your story promise. Then list the three scenes where that promise pays off. If you struggle, you are ready for developmental help.

Line Editing

Now we shape prose. Style, voice, and flow at the sentence and paragraph level. Rhythm, diction, imagery, and clarity, while leaving story choices intact.

Before and after, tiny sample:

• Before: She slowly began to walk across the room, feeling a sense of fear and worry growing inside her.
• After: She crossed the room. Fear tightened in her ribs.

No plot changes. No new scenes. The focus sits on pace, tone, and readability. Repetition goes. Flab goes. Cliché goes. Voice stays, sharper and cleaner.

Deliverables often include:

• Tracked changes in your file
• Margin notes on habits, tics, and line-level patterns
• A short style memo with examples to copy

Sign you need this stage. Beta readers say, I wanted to love it, but I skimmed. Or, the voice wobbles from breezy to stiff. Or, dialogue felt wooden.

Copyediting

Mechanics and consistency. Grammar, punctuation, usage, and house style. A copyeditor enforces rules so readers never trip.

Decisions include:

• Serial comma or not, Chicago advises yes
• Single vs double quotes, regional standards apply
• Numbers, numerals vs words, rules by context
• Hyphenation choices, high school student vs high-school student
• Spelling, Merriam-Webster in US trade publishing
• Consistent terms and names across chapters

You also receive queries. Examples. Timeline check, the party happens on Friday in Chapter 8, yet the next chapter opens on Thursday. Or, you switch between email and e-mail. Pick one.

Deliverables often include:

• Tracked changes for mechanical fixes
• A style sheet, terms, spellings, numbers, and decisions for future stages
• Queries where wording or logic needs an author choice

Copyediting follows a guide. For most trade books, Chicago Manual of Style. That guide smooths the reading experience across the entire manuscript.

Proofreading

Final quality control after layout. A proofreader reads on PDF or print proof. The focus shifts to the page.

Typical catches:

• Typos and missing words, the the problem
• Punctuation slips
• Bad breaks, widows and orphans, stacks of hyphens
• Wrong headers or folios, a chapter title repeated on the wrong page
• Formatting glitches, spacing, fonts, italics that drop out
• Table of contents mismatches

Deliverables often include:

• Marked PDF with comments or standard proof marks
• A short report with global issues, e.g., all scene breaks need consistent glyphs

A proofread does not reshape prose. It protects the final product.

Sequence Matters

Order protects your budget. Big-picture first. Then line-level voice. Then mechanics. Then a final polish once pages are designed.

The smart path looks like this:

• Developmental edit or manuscript assessment
• Line edit
• Copyedit
• Proofread

Why this order. Fix structure first, or you risk polishing chapters you later cut. Tune sentences once scenes stand in the right order. Lock mechanics across a stable text. Proof after layout, when page-level errors show up.

Quick Self-Diagnosis

Answer these with no overthinking.

• Do readers say, I got lost, or I did not care enough about the goal. Choose developmental.
• Do readers say, I kept rereading lines, or I skimmed long paragraphs. Choose line editing.
• Do readers point to punctuation, homophones, or inconsistent names. Choose copyediting.
• Are you one step from launch with designed pages. Choose proofreading.

One final note. An editor who sells line editing and copyediting as one pass often muddies outcomes. These are different skills with different aims. Ask for the focus you need, in the order above. Your future self will thank you.

Define Your Needs, Timeline, and Budget

Start by naming your problem. Structure, prose, or mechanics. Pick the right level of help and you save weeks and money.

Diagnose your manuscript

Use a quick stress test.

• Do beta readers say they got lost, or did not care enough about the goal. Structure needs work.
• Do they say they skimmed, or tripped over clunky lines. Prose needs smoothing.
• Do they point to commas, homophones, or inconsistent names. Mechanics need attention.

Add a few hard facts:

• Word count and genre. A 120,000-word epic asks for a longer schedule than a 50,000-word romance. Thrillers need tight pacing. Romance needs clear beats. SFF needs solid world rules.
• Publishing path. For self-publishing, plan for all four stages. For traditional, aim for a clean, strong manuscript before querying agents, proofread near the end.

Mini exercise:

• Write one sentence for your premise, no commas. Then one for your protagonist’s goal. Then list the three scenes where the goal faces real pressure. If you stall, story needs a structural pass.
• Read a random page aloud. Mark each time you double back to fix a sentence. If your pen moves a lot, a line edit will help.

Set a realistic schedule

Good editing runs on calendars, not wishes.

Typical windows:

• Developmental edit, 3 to 8 weeks for most novels.
• Line edit, 2 to 4 weeks.
• Copyedit, 2 to 3 weeks.
• Proofread, 1 to 2 weeks after layout.

Add your own revision time between rounds. Double it if you work nights and weekends. Editors book months ahead, so secure a slot once both sides agree on scope.

A simple example for an 80,000-word novel with launch in November:

• Developmental edit, 5 weeks in April.
• Your revisions, 4 weeks in May.
• Line edit, 3 weeks in June.
• Your revisions, 2 weeks in July.
• Copyedit, 2 weeks in August.
• Layout in early September.
• Proofread, 1 week in mid September.
• Final fixes, late September.
• Upload and print lead times, October.

That plan holds only if you hit your marks. Build buffers. Life happens, and edits create more work before they create relief.

Budget smartly

Editors quote per word, per hour, or per project. The mix depends on service level, complexity, and timeline. Expect higher costs for developmental and line editing than for copyediting or proofreading.

Work the math with your numbers:

• At 80,000 words, a line edit at 4 cents per word totals $3,200.
• At 80,000 words, a copyedit at 2 cents per word totals $1,600.
• A manuscript assessment might run a flat fee and deliver a road map without full margin edits.

Know your ceiling before you ask for quotes. Be candid about limits. Many editors offer staged plans. For example, assessment now, full developmental later. Or one pass of line edits on a sample set of chapters before a larger engagement.

A few budgeting tips:

• Avoid paying premium rush fees by booking early.
• Bundle copyedit and proofread with the same provider only if schedules line up and quality stays high.
• Keep money for a final proofread after layout. Typos adore finals.

Prioritize by impact

Spend where readers feel it most.

• Structure wobbly. Start with a manuscript assessment or a full developmental edit. No point polishing sentences you plan to cut.
• Story holds. Go line edit, then copyedit, then proofread.
• Strong writer with light errors. Try a heavy copyedit, then proofread.

Two short stories from my inbox:

• Mia wanted a copyedit for her mystery. The killer twist landed flat, and the midpoint sagged. We moved to a developmental letter first. She cut two suspects, raised stakes, and the new draft snapped into place. Copyedit came later, at half the original waste.
• Raj loved his sentences. Readers skimmed the dialogue. A line edit trimmed filler beats, tightened tags, and brought subtext to the surface. Same plot, fresh pulse.

Request comparable quotes

Help editors give you accurate numbers. Send the same package to each person.

Include:

• Word count, rounded to the nearest thousand.
• Genre and audience.
• A one-paragraph synopsis.
• A short bio line and publishing path.
• Your target dates and any hard deadlines.
• The first 10 to 15 pages, double-spaced, unless the editor prefers a specific sample.
• Your goals, top three.

Ask for:

• Scope and deliverables for the service level you want.
• Start date, finish date, and revision window.
• Pricing model and payment schedule.
• What triggers extra fees, for example major rewrites.
• A sample edit on 5 to 10 pages, if offered.

Then compare apples to apples. One quote might include a follow-up call and a style sheet. Another might include two passes through the manuscript. Line items matter. So do notes on voice and respect for your intent.

One-page worksheet

Copy this into a fresh doc and fill it in before you email anyone.

• Project: Title, genre, word count.
• Goal: One sentence on success for this book.
• Pain points: Structure, prose, mechanics. Pick one to focus on first.
• Timeline: Start by, must finish by, buffers.
• Budget: Range for each stage, total cap.
• Deliverables you want: Editorial letter length, margin notes, style sheet, Q&A call.
• Sample pages: Which pages you will send, identical to all prospects.

Do this work up front and your search moves faster. You step into each conversation as a partner, not a passenger. Editors love a clear brief. Your future book loves it more.

Where to Find Qualified Editors

You want names, not noise. Start where the odds favor you, then narrow fast.

Professional directories that filter for skill

Go to places built for publishing work.

• Editorial Freelancers Association. Search by genre, service, software, and location. Many profiles list training, past publishers, and rate ranges.
• ACES. Strong for copyeditors and proofreaders. Look for style guide fluency and specialties like STEM, legal, or education.
• CIEP. UK based, rigorous membership levels. If you need British English or a UK market focus, this is gold.
• Reedsy. Curated marketplace for book pros. Use filters for genre and service, then read portfolios and response times.
• ALLi. For indie authors. Their vetted services directory flags providers who understand self-pub workflows.

How to work these directories well:

• Use the advanced filters. Narrow to your genre and edit level.
• Open five profiles in tabs. Read for specifics. Titles, publishers, dates, testimonials with names.
• Note time zones and bandwidth. A thriller editor booked solid for two months will not hit a three-week launch.

If the site lets you post a job, write a tight brief. Word count, genre, service needed, timeline, top three goals. Clear briefs attract the right people.

Genre communities and referrals

Ask writers who share your readers.

• RWA for romance. HWA for horror. SFWA for science fiction and fantasy. Many chapters keep lists or will share referrals.
• Reputable Facebook groups and Discord servers tied to your genre. Look for groups that moderate spam and ask for real names in referrals.
• Critique networks. Good beta readers often know who fixed their last book. They will tell you who listens and who steamrolls.

How to ask without getting fifty random names:

• Give your word count, genre, and edit type.
• Add two lines about your goals. For example, "Pacing in the middle sags. Dialogue feels flat."
• Ask for editors they have paid, with links to websites.

Try this post:

"Seeking a line editor for an 85k contemporary romance. Needs help with rhythm and dialogue tags. Looking for someone familiar with RWA beats and Chicago style. Paid referrals appreciated. Portfolios welcome."

Read the acknowledgments

Pull three books like yours from the shelf. Flip to the back. Authors thank editors by name. Sometimes two, one in-house and one freelance.

• Search "acknowledgments" in ebook previews on retailer sites.
• Copy the names. Google each one with "editor" and your genre.
• Check whether they freelance. Many staff editors do not. If they are in-house only, look at who they follow and recommend. That breadcrumb trail leads to freelancers.

A quick story. A thriller writer found "K. Lopez" in the thanks of a breakout debut. She searched, found a site, and learned Lopez now freelances after ten years at a Big Five house. Perfect fit.

What a portfolio should tell you

You want evidence, not hype.

• Past projects with dates and roles. Developmental vs line vs copyedit.
• Genres they favor. If all the samples are memoir and you write space opera, move on.
• Testimonials with full names and book titles.
• Any in-house publishing experience. Copy desk, managing editor, acquisitions. It all helps.
• Style guides and dictionaries they use. Chicago and Merriam-Webster are standard for US trade books.
• A sample edit policy. Many offer 5 to 10 pages.

Skim their blog or social posts. Do they talk about process. Do they respect author voice. You will feel it.

Marketplaces, proceed with care

You might see glowing profiles and bargain rates on broad gig sites. Resist the rush.

• Prioritize verifiable credentials. Training, memberships, publisher names, ISBNs you can look up.
• Ask for a short sample edit on your pages. Then compare with two others.
• Insist on a contract. Scope, dates, deliverables, and payment terms in writing.
• Beware of promises. No one can guarantee a bestseller. Honest editors talk about clarity and craft.

Fast and cheap often means twice. Once to hire them, once to fix the work.

Ten-minute search sprint

Set a timer. Build a shortlist of three strong candidates.

1. Pick one directory. Filter by your genre and edit type.
2. Open five profiles. Close any with vague copy or no book titles.
3. From the remaining two or three, add one referral from your writer group.
4. Check each site for recent books, sample policy, and availability.
5. Email the top three with the same package.

You end with three real options, not twenty maybes.

Sample outreach

Keep it tight. Editors love clarity.

Subject: Line edit inquiry, 85k romance, June start

Hello [Name],

I am seeking a line edit for an 85,000-word contemporary romance. Target readers are fans of [two comps]. My goals, tighten dialogue, improve rhythm, and smooth point-of-view shifts. I plan to publish in October and hope to start in June.

Package included, first 15 pages, one-paragraph synopsis, word count, and timeline. Please let me know:

• Availability in June or July.
• Scope and deliverables for a line edit.
• Rate and payment schedule.
• Whether you offer a short sample edit.

Thank you for your time,

[Your name]

[Link to site or socials]

Send the same note to each editor. Track replies in a simple sheet. Date sent, response time, tone, quote, deliverables.

One last nudge. Where you look shapes who you find. Start with places that respect the work, ask peers who read like you, and verify what you see. The right editor is out there. Make it easy for them to see you too.

Vetting Editors: Samples, Skills, and Fit

You are not buying corrections. You are hiring judgment. Before you sign, test the work.

Run a sample edit the smart way

Ask for 5 to 10 double-spaced pages. Send your strongest middle pages, not the opener you have polished twenty times. Include a short synopsis, word count, genre, and three goals. For example, "tighten dialogue, sharpen pacing, smooth point-of-view shifts." Request margin comments and edits with Track Changes.

How to read what returns:

• Depth. Do comments reach cause, not only symptoms. A note like "awkward sentence" is shallow. "This beats repeats the reveal from scene 4, drop or invert to protect tension" shows structural thinking.
• Clarity. Notes use plain language, point to examples, and suggest options. Vague remarks help no one.
• Respect for voice. Edits polish your sound. They do not turn your voice into theirs.

A quick comparison helps. Two editors work the same paragraph.

Original: "I head to the door, heart pounding, because maybe Ryan heard me and will bolt."

Editor A comments:

• "Cut filter words. Try direct action."
• Rewrites to, "I reach the door. My heart pounds. Ryan heard me and will bolt."
• Adds, "Drop maybe. Indecision weakens tension."

Editor B comments:

• "Goal in this beat is fear of losing Ryan. Suggest concrete detail to ground motion."
• Offers two options.
  • "I reach the door. Keys jingle. My heart pounds. Ryan heard me, he will bolt."
  • "I grip the knob. Keys jingle. My pulse trips. If Ryan heard me, he will bolt."
• Adds, "Choose pulse or heart for consistency. Pick one through the book."

Both tighten. B shows range, explains choices, and tracks continuity. You want that mix.

Score each sample on a 1 to 5 scale for depth, clarity, and voice respect. Add a note on tone. Do you feel coached or scolded.

Check genre fluency

Editors serve readers first. Ask questions that reveal their map of your aisle.

• Romance. Do they know HFN vs HEA. Do they speak to heat levels, trope signals, and beat timing.
• Thriller. Talk pace, clue placement, red herrings, and the promise of justice.
• SFF. Ask about worldbuilding on-ramps, exposition control, and series continuity.
• Memoir. Discuss scope, ethical concerns, and scene vs summary balance.
• Kidlit. Ask about age bands, vocabulary, and gatekeepers.

Three quick tests:

• Ask for two comps and one sentence on why those readers will respond to your book.
• Ask how they approach a sagging middle for your genre.
• Ask for one common pitfall in your niche and how they guide authors past it.

Listen for specifics, not buzzwords. You want patterns, examples, and clear reasoning.

Tools and standards

Standards save time. Ask for theirs.

• Style guide. Chicago Manual of Style for US trade books. New Oxford Style Manual for UK. AP is for newsrooms, not novels.
• Dictionary. Merriam-Webster Collegiate, 11th edition for US. Oxford for UK.
• Software. Word with Track Changes is the norm for long-form. Ask about Google Docs or Pages only if you plan to use them. Many editors work in Word for stability.
• Style sheet. A living document of decisions and details.

Ask to see a sample style sheet. It should look something like this:

• Spelling: US
• Dictionary: Merriam-Webster Collegiate, 11th
• Style guide: Chicago Manual of Style, 17th
• Numbers: spell out one through one hundred
• Hyphenation: email, line edit, copyedit, time travel, time-traveling
• Voice notes: wry, concise, limited interiority
• Characters: Mia Torres, prefers "Mia," bilingual Spanish-English, no italics for Spanish
• Places: South Austin, Lady Bird Lake
• Terms: home-school vs homeschool, choose one, stick to choice
• Punctuation preferences: serial comma, spaced ellipses

A solid editor builds and updates this sheet as they go. You will use it during revisions and for the next book.

Process and communication

Know what you will receive and how questions move.

• Deliverables. For developmental, an editorial letter with page count or word count, plus margin notes. For line or copy, in-document edits and comments, plus a style sheet.
• Queries. How do they flag uncertainties. Brackets, comments, or a list at the end.
• Response times. During the edit and after delivery. Ask for a window for follow-up questions, for example two weeks by email.
• Meetings. Do they offer a kickoff call. Is a debrief call included.
• Scope. Number of passes. One pass or two. Define what each pass covers.
• Boundaries. Office hours, time zone, holidays. You need clear lines before deadlines hit.

Try this message to confirm understanding: "Please confirm deliverables, number of passes, editorial letter length, and a window for follow-up questions. I plan to send the manuscript on March 1. I would like delivery by April 15."

Red flags

Walk away when you see these.

• Guarantees of bestseller status or agent representation.
• Disdain for style guides or dictionaries.
• No contract.
• Refusal to provide a short sample or to edit your pages for the sample.
• Heavy rewrites into their voice with no explanation.
• Vague timelines or "as fast as you need."
• No references or testimonials with names and book titles.
• Full payment upfront with no milest

  Pricing, Contracts, and Scope of Work

  Money and expectations are where good projects go smooth or sideways. Put the deal in writing, line by line. You will sleep better, and so will your editor.

  Define deliverables before you pay a deposit

  Spell out what you will receive.

  • Number of passes. One pass, or two with a light second look.
  • Format of feedback. Editorial letter with word count. Inline comments in Word with Track Changes. A style sheet.
  • Support after delivery. A window for Q&A by email or a short call.

  Examples help.

  • Developmental edit. One editorial letter, 8 to 12 pages. Margin notes on big moments. One follow-up call, 45 minutes, within two weeks.
  • Line edit. Full markup in Word. Margin notes on voice and flow. Style sheet, two pages or more. One week of email support.
  • Copyedit. Full markup in Word. Queries in comments. Style sheet updated for spelling, hyphenation, numbers, and recurring terms. One round of query resolution.

  Ask for samples of each deliverable. One page from a past letter. A redacted style sheet. A screenshot of tracked edits. You want proof of method.

  Know how pricing works

  Editors quote three ways.

  • Per word. Example, 0.02 per word. An 80,000-word novel lands at 1,600.
  • Per hour. Example, 60 per hour with an estimate of 25 to 35 hours. Ask for a cap and progress check-ins.
  • Per project. A flat fee, often tied to a defined scope.

  Clarify payment terms.

  • Deposit to hold dates. Commonly 25 to 50 percent.
  • Milestones. Half at start, half at delivery. Or thirds, with a mid-point check.
  • Final payment due on delivery or within 14 days.

  Define triggers for extra fees.

  • Major rewrites after the first pass.
  • Word count goes up by more than 10 percent.
  • Rush requests or weekend work.
  • Extra phone calls beyond the agreed window.

  Use plain math in the contract.

  • “Rate: 0.03 per word x 85,000 words = 2,550. Deposit: 30 percent = 765. Balance on delivery: 1,785.”

  No surprises, no friction.

  Timeline and milestones

  Put dates on the page.

  • Start date when the file hits the editor’s inbox.
  • Delivery date for the first pass.
  • Your revision window.
  • Date for the second pass, if included.

  Add what happens when schedules slip.

  • If you deliver late by more than seven days, editor may move you to the next open slot.
  • If the editor runs late, you receive a revised date in writing plus a small discount or added support. Decide on the remedy together.

  Note any rush fees up front. Example, “Requests for delivery two weeks sooner than agreed add 20 percent.”

  Add file format rules. Word doc, double-spaced, standard margins, scene breaks marked with a single hash line. Clean files save time.

  Rights and confidentiality

  Your words are yours. The contract should say so in plain terms.

  • You retain all rights to the manuscript and revisions.
  • The editor receives permission to edit and store files for project needs only.
  • No public use of excerpts without your consent.

  Add a confidentiality clause. Editors handle early drafts, private stories, and sometimes legal names. You want privacy on paper. If you write in a sensitive category, ask for a simple NDA. One page, mutual, practical.

  Clarify credit. Some authors thank an editor in acknowledgments. Others keep the work private. Put your preference in writing. Editors love clarity.

  Cancellation and rescheduling

  Life happens. Put the safety net in the deal.

  • Kill fee. If you cancel after booking, the deposit serves as a kill fee.
  • Reschedule terms. One date change allowed with 30 days notice. More changes may require a new deposit.
  • Refund policy. Spell out when refunds apply, and how much.
  • Force majeure. Short clause for events outside anyone’s control. Storms, outages, illness. New dates agreed in writing.

  Add file handover rules if either party ends the deal midstream. You should still receive work completed to date, with notes.

  A quick contract checklist

  Run through this before you sign.

  • Scope defined, with pass count and deliverables listed.
  • Word count used for pricing, with a tolerance window.
  • Rate and total fee shown, with deposit and due dates.
  • Timeline with start, delivery, and revision windows.
  • Extra fees spelled out and tied to clear triggers.
  • Communication plan, office hours, and response times.
  • Credit, rights, and confidentiality stated.
  • Cancellation and rescheduling terms included.
  • Signature lines for both parties, with full names and contact info.

  If a clause feels murky, ask for a clearer line. Plain English beats legal fog.

  Two short templates you can copy

  Scope email before a contract:

  “Thanks for the proposal. To confirm scope, I am booking a line edit for my 82,000-word fantasy novel. Deliverables include full tracked edits, margin comments, and a style sheet. One week of email support after delivery. Start date July 8. Delivery August 2. Total fee 2,460 at 0.03 per word. Deposit 30 percent on booking, balance on delivery. Please confirm and send the contract.”

  Contract language for rights and credit:

  “Author retains all rights in the work and all revisions. Editor receives permission to edit and store files solely for fulfilling services under this agreement. Editor will not share or publish any portion of the manuscript without Author’s written consent. Credit in acknowledgments optional at Author’s discretion.”

  One last sanity check

  Before you pay, read every line out loud. Would a stranger understand each clause. Do the numbers add up. Do you know what arrives on your desk, and when. If the answer is yes, you have a clear agreement and a strong start. Then write the next scene while your editor sharpens their pencils.

  Set Up a Smooth Collaboration

  Good editing works like a partnership. Start well and you keep momentum. Fumble the handoff and you lose weeks.

  Prepare your manuscript

  Give your editor a clean file, so energy goes to high-value work.

  Quick preflight checklist:

  • One slow pass for sense. Fix plot holes, continuity slips, orphaned subplots.
  • Delete placeholders and notes to self. Keep a separate notes doc.
  • Standard format. Word file, double spaced, 12-point serif, paragraph indents, page numbers, scene breaks marked with a single hash line.
  • Consistent names, places, timelines. If the dog is Mo in chapter two and Moe in chapter ten, pick one.
  • Trim obvious filler and throat clearing. Open late, exit early.
  • Run a spellcheck. Then fix repeated words and tics.

  Mini exercise, twenty minutes:

  • Read one scene aloud.
  • Mark any sentence you skip while reading. Tighten those lines.
  • Circle three words you overuse. Replace half of those hits.

  Cleaner input equals sharper feedback. Editors do their best work once the weeds are gone.

  Share context your editor needs

  A few pages of context save hours of guesswork.

  Send:

  • A one-page synopsis with beginning, middle, end.
  • Three comps with a sentence on why each one fits.
  • Target reader. Age range, genre niche, heat level or gore level if relevant.
  • Content warnings where needed.
  • Three top goals. Examples, "Sharpen pacing in the first third," "Strengthen romantic arc," "Keep voice while smoothing clunky lines."
  • Any craft concerns you want a spotlight on.

  Add a short author note on voice preferences. For example, "Sparse dialogue tags," or "Plain style over lyrical." If a house style or publisher brief exists, include that.

  Template you can copy:

  "Hi [Editor],
  Attached, you will find the manuscript and a one-page synopsis. Comps: [Title 1], [Title 2], [Title 3]. Target reader: [brief line]. Goals: 1) tighten opening, 2) clarify world rules, 3) keep humor while cutting flab. Please flag any sensitive content in notes. Thanks."

  Clarity up front prevents whiplash later.

  Align expectations

  Book a short kickoff call, thirty minutes does the job. Treat it like a production meeting.

  Suggested agenda:

  • Scope. Service type, pass count, and deliverables.
  • Voice. What feels on-brand, what feels off.
  • Sensitivities. Topics to handle with care.
  • Queries. How your editor frames questions. How you prefer to receive them.
  • Communication. Office hours, response times, preferred channels.
  • Disagreements. How to handle no-go changes. Who decides when you reach stalemate.

  Ask two process questions:

  • "Where do you start on a project like mine?"
  • "What does a good week of progress look like on your side and mine?"

  A good editor will share method and boundaries. Once you both agree on the plan, put a brief recap in email.

  Manage versions like a pro

  Files sprawl. Keep order from day one.

  • Use clear file names. Title_Author_v03_2025-02-18.docx.
  • Keep a master folder in the cloud plus a local backup. Sync daily while in edit.
  • Lock a version before sharing. No sneaking in new chapters mid-pass.
  • Track changes on. Comments on. Accept or reject with intent, not by reflex.
  • Keep a change log. A simple text file with dates and key decisions.

  Build and maintain a style sheet. This single doc saves everyone from re-litigating choices.

  Include:

  • Character names, nicknames, pronouns, ages, physical markers.
  • Places, spellings, invented terms.
  • Spelling choices. Toward vs. towards, email vs. e-mail.
  • Hyphenation choices. Health care vs. healthcare, time line vs. timeline.
  • Numbers, dates, capitalization rules.
  • Voice notes. Slang, dialect boundaries, preferred rhythms.

  Share the style sheet before line or copy work starts, then update together.

  Work the feedback without losing your voice

  You will receive an editorial letter, margin comments, or both. Take a breath.

  A simple approach:

  1. Read everything once. No changes. Highlight the three issues with the biggest payoff.
  2. Sleep on it.
  3. Build a revision plan in layers.

  Layer order:

  • Macro. Structure, stakes, character arc, timeline fixes. Create a scene-by-scene map. Write a one-line purpose for each scene. Cut scenes with no purpose or fold them into stronger ones.
  • Meso. Scene dynamics. Entrances and exits. Who wants what in each scene. Are beats in a logical sequence. Fix transitions.
  • Micro. Prose. Wordiness, repetition, muddled images, cliché phrasing. Replace vague words with concrete ones. Leave voice intact.

  Use color or tags to track tasks. Red for cuts, blue for new scenes, green for continuity. Finish a layer before moving to the next. Resist the urge to polish commas while moving a chapter.

  Ask targeted follow-up questions, two to six max.

  • "If I move the midpoint reveal to chapter 14, does tension dip in chapters 10 to 13?"
  • "Does this revised beat sheet solve the sag in act two?"
  • "Are these dialogue trims keeping voice, or did I go too far?"

  If a second pass is included, send pages once macro and meso work land solid. Request a quick spot check on new material that intersects with earlier notes.

  A short checklist for smooth sailing

  • Clean file delivered in standard format.
  • Context packet with synopsis, comps, reader, goals.
  • Kickoff call booked, recap sent.
  • Clear file names, backups, change log, style sheet started.
  • Feedback plan set, with layers and deadlines.
  • Focused questions prepared for follow-up.

  You handle the story. Your editor handles the engineering. Together you build a book readers finish and recommend.

  Frequently Asked Questions

  What is the difference between developmental editing, line editing and copyediting?

  Developmental editing is big‑picture work — plot, structure, character arcs and pacing — often delivered as an editorial letter and beat map; line editing focuses on sentence and paragraph‑level voice, rhythm and clarity without changing story shape; copyediting enforces mechanics and consistency (spelling, punctuation, hyphenation) and produces a style sheet and queries. Think of developmental editing vs line editing vs copyediting as three sequential skill sets you buy in order.

  What order should I book editing services in and why?

  The smart sequence is developmental edit (or manuscript assessment), then line edit, then copyedit, and finally proofreading after layout. Fixing structure before polishing sentences avoids reworking text you may cut; locking mechanics only after the text is stable prevents wasted copyedit time; proofread on final proofs to catch page‑level glitches.

  How do I diagnose which edit my manuscript needs?

  Use simple reader feedback cues: if beta readers say "I got lost" or "I didn't care", you likely need developmental help; if they say "I kept rereading lines" or "I skimmed", opt for a line edit; if they flag punctuation, homophones or inconsistent names, choose copyediting. Do a quick self‑test: write your story promise in one sentence and list three scenes where it pays off — struggle here signals structural work.

  How should I budget and request comparable quotes from editors?

  Decide your total cap before you ask and request comparable quotes by sending the same package to each editor: rounded word count, genre, one‑paragraph synopsis, first 10–15 pages, top three goals and target dates. Expect pricing per word for many editors (for example 0.02–0.04 per word for line edits), per hour, or per project; ask about deposits, milestones and what triggers extra fees so you can compare apples to apples.

  What should I include in a brief and style sheet when approaching an editor?

  Send a context packet: a one‑page synopsis, three comps with a line on reader fit, target reader, content warnings, three top goals and the manuscript file. Start a project style sheet noting language variant, preferred dictionary, numbers policy, dialogue and thought format, spelling choices and any invented terms or character‑specific exceptions — editors rely on that "style sheet for book project" to keep decisions consistent.

  How do I vet editors and evaluate a sample edit?

  Ask for a 5–10 page sample edit (send strong middle pages, not over‑polished openers) and score returned work for depth, clarity and respect for voice. Good editors explain why, offer options, and add continuity notes; they should show genre fluency and provide a sample style sheet and track‑changes file. Use a short rubric (depth 1–5, clarity 1–5, voice respect 1–5) and compare two or three candidates before committing.

  What contract and collaboration terms should I insist on?

  Get a written contract specifying scope (passes and deliverables), rate and total fee with deposit and payment schedule, timeline and revision windows, extra‑fee triggers (major rewrites, rush requests), rights and confidentiality, and cancellation/rescheduling terms. Agree a communication plan (kickoff call, query handling, response times), preferred file formats (Word with Track Changes) and clear file‑naming/versioning practices to keep collaboration tidy.

  

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