Questions To Ask Before You Hire An Editor

Gary Smailes | 18 November 2025

Clarify Your Editing Needs and Goals

Before you message an editor, name the problem you want solved. Structure. Prose. Mechanics. Final polish. Pick one. You will save time, money, and nerves.

The four levels, in plain terms

Developmental editing looks at the bones. Story, argument, structure, pacing, character arcs, scene order, stakes. Signs you need it: beta readers feel lost, stakes feel flat, a saggy middle, an ending that lands with a thud. You have a book-shaped stack of pages, not a book. A developmental edit reshapes chapters, strengthens motives, trims subplots, and guides revision with a plan.

Line editing looks at the language. Sentence rhythm, voice, clarity, tone, repetition, awkward phrasing. Signs you need it: feedback mentions wordiness, stiff dialogue, murky interiority, or a voice that wanders. A line edit keeps your voice, then tightens it. Expect sharper sentences and smoother flow, not a rewrite in someone else’s style.

Copyediting looks at correctness and consistency. Grammar, punctuation, usage, capitalization, hyphenation, numbers, citations, continuity. Signs you need it: you mix en rules and em rules, character names shift from Jay to Jae, timelines wobble, or commas fight you in every paragraph. A copyedit enforces a system and fixes errors.

Proofreading brings the last pass after layout. Typos, missing words, bad line breaks, repeated headers, page numbers out of order. Signs you need it: you are through editing, pages are typeset, and you want no surprises in print. A proofread is not a rescue mission. It checks surface issues once everything else is locked.

Not sure where you are. Ask for a manuscript assessment. You receive a condensed editorial letter, a diagnosis of strengths and issues, and a recommended next step. Cheaper than a full edit, faster too.

A quick self-audit

Give yourself 30 minutes.

• Read the opening aloud. Do you hear a clear voice by page two. If not, flag line editing.
• Summarize each chapter in a sentence. Where you hesitate, structure needs help. Flag developmental.
• Search for a character name. Do spellings shift. Do eye colors change. Flag copyediting.
• Open your typeset PDF, if you have one. Scan headers, page numbers, and scene breaks. See widows or orphans. Flag proofreading.

One exercise, four signals. Use it before you ask for quotes.

Know your deliverables

Ask what you will receive, in concrete terms.

• Editorial letter. Length and focus. Developmental often lands in the 5 to 15 page range, with priorities, examples, and a revision plan. Line edits sometimes include a shorter letter on patterns in your prose. Copyedits rarely need long letters, though a brief summary of key choices helps.
• Inline comments. Track Changes in Word or Suggestions in Google Docs. Marginal notes point to the why, not only the what. You should see questions, examples, and rationale.
• Style sheet. A living document with spelling choices, hyphenation rules, numbers treatment, italics policy, character names and traits, timelines, invented terms, and any recurring calls. This keeps consistency across revisions and future books.
• Debrief call. A 30 to 60 minute chat to walk through the big points. Ask whether this is included or billed as an add-on. If a call is not your thing, confirm an email Q&A window instead.

Also clarify number of passes. One thorough pass is common. A second, lighter pass after your revisions might be included or priced separately. Know which.

Genre, audience, and comps

A good edit lives in context. Your book sits next to others, and readers bring expectations to the page.

Ask how the editor will factor in your category. Listen for fluency.

• Romance. Beats like meet-cute, midpoint shift, dark moment, HEA or HFN. Heat levels and content warnings handled with care.
• Thriller. Pacing, stakes escalation, twist logic, chapter hooks, plausibility.
• Fantasy or science fiction. Worldbuilding rules, exposition load, naming logic, timeline maps, magic or tech limits.
• Memoir. Voice, boundaries, legal risk, narrative distance, timeline clarity, ethical questions.
• Nonfiction. Promise to the reader, argument spine, chapter architecture, sourcing, back matter.

Ask which comps they would reference and why. You want current titles, not old standbys from ten years ago. If you say your YA fantasy sits between Legendborn and A Darker Shade of Magic, you want an editor who has read them. If you write a cozy mystery, you want someone who knows readers expect a body early, community ties, low gore, and a gentle tone.

Word count norms matter too. Thriller debuts often land around 80k to 100k. Middle grade sits lower. Epic fantasy runs longer, though bloat still hurts. An editor who knows the range will flag risk before agents or readers do.

Script your questions

Use these prompts in your email or call.

• I think I need X level of editing because Y. Does that match what you see in a short sample.
• What outcomes will I receive. Please confirm length of the editorial letter, number of inline comments, a style sheet, and whether a debrief call is included.
• How will you tailor feedback to my genre and audience. Which comps guide your approach.
• How many passes are included, and will you review my revisions.
• If I am between levels, would a manuscript assessment help me decide.

Then ask for a brief sample edit, five to ten pages, double spaced. Send the same pages to two or three editors. Compare depth, tone, and respect for your voice.

A quick example

Two authors, same 80k fantasy.

Author A asks for copyediting. Sample pages show wandering POV and unclear stakes by chapter two. A pro suggests a manuscript assessment or a light developmental pass before copyediting. The author revises with a plan, then returns for cleanup. Money well spent.

Author B asks for developmental editing. The plot sings, but sentences sprawl and dialogue stalls. The editor proposes a line edit instead. The author agrees, keeps the strong structure, and ends with tighter prose.

Right service, right time. No wheel-spinning.

Define success

Before you hire, write a short brief for yourself.

• Primary goal. For example, tighten pacing and sharpen character motivation.
• Secondary goal. For example, align tone with X and Y comps.
• Dealbreakers. Lines you will not cross. For example, no removal of dialect in dialogue. Or no change to a specific scene for legal or personal reasons.
• Measures. What will success look like. Shorter chapters. Clearer stakes by the end of chapter three. A style sheet you can use on book two.

Share this with the editor. A clear target keeps both of you aligned.

One last point. An honest editor will point you to the level you need, even if it costs less. That is the partner you want.

Credentials, Experience, and Genre Fit

Hire for the work they have done, not the vibe on their website. A good fit shows up in the pages, in the credits, and in how they talk about your genre.

What counts as relevant experience

Ask for specifics, then verify.

• Comparable titles. Look for books near yours in genre, tone, and audience. Ask which level of edit they did on each title. Developmental, line, copy, or proof. Vague phrases like helped on several projects tell you nothing.
• In‑house background. Editors who trained at publishers tend to follow style, hit deadlines, and manage scope. Plenty of freelancers do this too, so focus on evidence, not labels.
• Long‑term freelance work. A steady client list signals reliability. So do repeat authors.
• Professional memberships. EFA, CIEP, ACES, Editors Canada, and similar groups signal ongoing training and a code of practice. Membership is a plus, not a golden ticket.

Good question to ask: which three recent projects are closest to mine, and what problems did you solve on each. Listen for concrete answers. Structure issues fixed, a saggy middle tightened, a messy timeline straightened, a voice sharpened. If the answer leans on buzzwords, move on.

Ask for a sample edit

Five to ten pages, double spaced. Pick a section with a mix of dialogue, action, and exposition. Include one page you worry about. You want to see how the editor tackles real problems.

What to look for in the sample:

• The why behind changes. Comments should explain choices, not mark errors in silence. You want thinking on pacing, clarity, and intent.
• Respect for voice. Your rhythms should remain yours. Tightened, yes. Transplanted, no.
• Measurable lift. Fewer echoes. Cleaner syntax. Smoother transitions. Stronger beats.

A quick example helps.

• Original: She started to begin walking towards the door, heart beating fast in her chest.
• Heavy‑handed rewrite: She raced to the door, her heart exploding with thunder.
• Useful line edit: She walked to the door, her heart beating fast.

The third keeps tone and tightens clutter. The second drags the prose into a new voice. You want the third.

Another tell. Do the comments ask questions. For example, Do we need this beat to land the reveal later. Could we move this line to after the action for stronger momentum. Questions invite intention. Dictation breeds resentment.

Clarify scope of the sample. Is this the level of depth you will receive across the manuscript. How many comments per page. Will global notes accompany inline edits.

References and verifiable credits

Proof lives on the page and in the back matter.

• Acknowledgments pages. Authors often thank their editors by name. Check the Look Inside on retail sites or request PDFs from the editor.
• ISBN trail. Google the ISBN and the editor’s name together. Linked credits help.
• Publisher or agent notes. Some publishers list editors on their sites or metadata.

Ask for two or three author references. Then email with targeted questions.

• Did the editor hit the agreed deadlines.
• How clear were the notes and queries.
• Did the feedback keep your voice intact.
• How did they handle disagreements.
• Would you hire them again for the same level of edit.

Ten honest minutes with another author will save you weeks of doubt.

Genre fit signals

Every shelf has rules. You want someone who knows them and knows when to bend them.

Ask the editor to name two current comps for your book and to explain the choice. Listen for specifics.

• Romance. Heat levels, consent language, HEA or HFN, closed or open door, content warnings.
• Thriller. Stakes escalation, plausibility, clue planting, chapter hook cadence.
• Fantasy or science fiction. Worldbuilding logic, exposition load, map or timeline choices, naming patterns.
• Mystery. Body by chapter one or two, fair play clueing, suspect pool setup, community tone.
• Memoir. Ethical boundaries, legal risk, truth claims, narrative distance.
• Nonfiction. Reader promise, argument spine, chapter architecture, sourcing standards.

Two more checks.

• Word count norms. Does the editor know the common range for your category. If your YA sits at 130k, you want a frank note on length. If your novella stops at 22k, you want strategy for where to send it.
• Market awareness. Do they reference recent titles rather than classics from a decade ago. Do they show awareness of current reader expectations.

How to read the conversation

Experience shows up in how editors talk about problems.

• Good signal. They name the likely issues in your sample and propose a process to test those assumptions.
• Good signal. They describe tradeoffs. For example, tighter pacing versus worldbuilding detail, or a cleaner argument versus a favorite anecdote.
• Weak signal. They promise a spotless book without seeing a sample.
• Weak signal. They skewer other editors instead of discussing your needs.

Tone matters too. You want straight talk, not flattery or doom.

Simple prompts to send

Copy, paste, tailor.

• Here are ten sample pages, double spaced. Which level of edit fits this work right now, and why.
• Which three recent projects feel most similar to mine. What did you do on each, and who published them.
• What deliverables will I receive. Editorial letter length, inline comments, style sheet, debrief call.
• Please confirm your preferred style guides and dictionary, and any genre resources you rely on.
• Would you share two author references, or links to acknowledgments that credit your role.

Close with your brief. Title, genre, audience, word count, two comps, and your main goals for the edit. A strong editor will respond with clarity. They will place your book on the right shelf, lay out a plan, and tell you where they add value. That, more than a slick website, is your green light.

Process, Tools, and Quality Standards

Great editing runs on process. Not vibes, not luck. Ask how the work gets done before you hand over a word.

Style guides, dictionaries, and the style sheet

Trade books usually follow Chicago Manual of Style, plus Merriam-Webster. Ask which edition. Ask which dictionary. If you write in British English, expect New Oxford Style Manual and Oxford spelling. Academic or technical projects often use APA, MLA, AMA, or house rules. You want a clear answer here, not a shrug.

Then ask about the style sheet. This is the editor’s map. It records decisions which keep your book consistent from page one to proofs.

What a solid style sheet includes:

• Spelling choices. Email or e-mail. OK or okay.
• Hyphenation. Long term or long-term. Start up or startup.
• Capitalization. Internet or internet. Black as a racial identifier.
• Numbers. Numerals versus words. Dates and time.
• Dialogue punctuation and ellipses style.
• Character list and name spellings. Place names. Timeline notes.
• Series terms. Made-up words. Foreign terms and translation rules.

Mini test. Send five lines with tricky choices.

• He texted “ok,” then put the twenty five dollar bill on the countertop.
• All-black outfit, all Black neighborhood, Black-owned store.
• Year-over-year or year over year.
• Email subject lines with Sentence case, Title Case, or ALL CAPS.

See how the editor resolves each. That sheet becomes your book’s user manual.

Workflow from kickoff to delivery

You want a defined path. Loose ends burn time and energy.

A common, healthy flow looks like this:

1. Inquiry. You send a brief with title, genre, audience, word count, two comps, and goals.
2. Sample and estimate. The editor reviews ten pages, then quotes based on scope and level of work.
3. Agreement. Scope, price, timeline, deliverables, and payment schedule in a signed contract.
4. Deposit and start date. Calendar commitment goes both ways.
5. Kickoff. A short questionnaire or call to confirm goals, sensitivities, and success metrics.
6. Edit in progress. Milestones and check-ins set in advance.
7. Delivery. Edited file with Track Changes or Google Docs suggesting mode, an editorial letter, and a style sheet.
8. Debrief. A call or email round to walk through big notes and next steps.

Ask about tools. Most editors work in Word with Track Changes. Others prefer Google Docs with version history. Proofreading often runs through PDF with comments. For consistency checks, some use PerfectIt. None of these replace judgment. They support it.

Version control saves headaches. Ask how files get named and stored. Look for a system like:

• YourName_Title_MS_v1_2025-07-04.docx
• YourName_Title_MS_v2_after_author_revisions_2025-07-20.docx

Agree on a single source of truth. Agree on where backups live. Ask how long files stay archived after delivery.

Response time matters. A clear norm lowers stress. Examples:

• During active edits, replies within one business day.
• After delivery, a defined Q&A window, say two weeks, with replies within two business days.

Time zones and holidays noted upfront.

Passes, revisions, and queries

Pass means one sweep through the manuscript at the agreed level of edit. Many projects benefit from one deep pass, then a shorter follow-up after you revise. Price and timeline should reflect both, or name a second pass as an option.

Clarify:

• How many passes are included.
• Whether a light follow-up on your revisions is included, and the window for sending those pages.
• Whether a second pass is a new engagement, with a new estimate.
• Whether email Q&A is included after delivery, and for how long.

Look at the querying style. Comments should show thinking and invite choices.

Weak query: Move this paragraph up.

Strong query: If the goal is tension before the reveal, consider moving this para to precede the argument. Doing so shortens the lull between hook and payoff.

Another quick example:

• Original: By the time he had finally begun to arrive at the station, the last train had already left.
• Useful line edit: He reached the station. The last train had left.

The second keeps your tone, trims clutter, and keeps sequence clear. The comment might add, Consider whether the delay needs a reason here for plausibility.

Quality controls and boundaries

Quality is not a feeling, it is repeatable practice. Ask what checks run before delivery.

Good answers sound like:

• Pass through for global issues, then a second sweep for consistency and syntax.
• A style sheet review to align with Chicago and the chosen dictionary.
• A word list run through PerfectIt for variants, headings, and tables.
• Spot checks on cross-references, captions, and table of contents entries.
• A final scan for leftover comments and stray Track Changes.

Boundaries prevent scope creep. Copyediting fixes grammar, usage, and consistency. It does not restructure a plot. Developmental editing tackles structure and pacing. It does not verify dates or legal claims. Proofreading catches surface errors after layout. It does not rework sentences across pages. Ask where the chosen level starts and stops.

Fact-checking and sensitivity reading

Editing improves language and structure. Fact-checking verifies truth. Sensitivity reading reviews portrayal of identities and experiences. These are distinct services.

If you need verification, define the depth.

• Light. Names, titles, dates, and obvious claims flagged for author review.
• Standard. Proper nouns, quotations, statistics, and timelines verified against listed sources.
• Deep. Source building, citation checks, and a memo with corrections and open questions.

For sensitivity reading, ask about lived experience and genre fluency. Ask for a one-page memo sample with examples of issue, impact, and revision options. Editors often refer to vetted specialists. Good referrals include a scope note, fee range, and turnaround.

Who coordinates extras. The editor, you, or a producer. Clarify handoffs and file flow.

Questions to send today

• Which style guide and dictionary will you follow for this project. Will you create a style sheet, and what sections will it include.
• Walk me through your workflow from deposit to delivery. Where are the check-ins.
• Which tools do you use for version control and markup. How do you name files.
• How many passes are included. Will you review my revisions. What is the window for sending them.
• What quality checks happen before delivery.
• Do you provide fact-checking or sensitivity reading, or referrals. How do those deliverables look.

Good process will not kill your voice. Good process protects it, then lifts it. Ask the questions now, save yourself the heartburn later.

Scope, Pricing, Timeline, and Contracts

Money, time, scope. Ask early, agree in writing, and protect your sanity.

Pricing models, scope, and what you get

Editors price work in three common ways.

• Per word. Clear, scalable, easy to budget. Example: 85,000 words at 0.035 per word equals 2,975. Rate shifts with difficulty and level of edit.
• Flat project. One number tied to a defined scope. Good for peace of mind. Needs a tight spec.
• Per hour. Useful for messy projects or consulting. Requires trust, time caps, and detailed logs.

Ask for a written estimate which lists:

• Level of edit, manuscript length, and assumptions. For example, double-spaced, standard margins, Word file.
• Deliverables. Edited file with Track Changes or Google suggesting mode, style sheet, and an editorial letter with length stated.
• Meetings. Number and length of calls included, if any.
• Revision support. Whether a light check of revised pages comes with the package, with a word-count cap and a time window.
• What triggers extra fees. Major rewrites, new chapters, extra passes, heavy fact queries, or rush starts.
• What sits outside scope. Formatting for print, permissions, citations, indexing, cover copy, or layout fixes.

A quick contrast helps.

Strong estimate:

• Level: line edit of 85,000 words at 0.035 per word, projected total 2,975.
• Includes: edited file, 6–10 page editorial letter, style sheet, one 45-minute debrief, and a light check of up to 10,000 revised words within 30 days.
• Excludes: new scenes, structural changes, fact-checking, or layout markup.
• Add-ons: extra revised words at 0.02 per word. Rush start within two weeks adds 20 percent.
• Timeline: see milestones below.
• Payment: 40 percent deposit, 40 percent at halfway, 20 percent on delivery.

Weak estimate:

• “Edit, 2,000, two weeks.” No scope, no deliverables, no sanity.

If rates feel opaque, ask about typical throughput for the chosen level. As a rough guide, copyediting often moves faster than line editing, and developmental editing moves slower than both. Fatigue exists, so daily word counts swing. A good editor names a range, not a fantasy.

Mini exercise. Take two quotes. Make a table with columns for level, rate, deliverables, passes, revision support, add-ons, and timeline. Gaps pop fast when you look side by side.

Timeline, milestones, and buffers

Schedules fall apart where assumptions hide. Get a plan with dates.

A healthy timeline for a novel might read:

• Kickoff: July 1. Goals confirmed, files received, deposit paid.
• First third delivered: July 15. You review sample pages and approach.
• Second third delivered: July 29.
• Final third delivered: August 12.
• Full editorial letter and style sheet: August 12.
• Author revision window: August 13 to September 3.
• Light check of revised pages due: September 17.

Ask for:

• A start date on the calendar.
• Delivery dates for each tranche or the whole book.
• A revision buffer for you, not squeezed between other projects.
• Response-time norms during active work and during Q&A after delivery.
• What happens if either side slips. Most editors pause and reschedule, not squeeze work into evenings.

Time zones matter. Holidays matter. Name them now.

Passes, revision review, and how changes move

“Passes” means how many full sweeps through the manuscript come with the quote. Alignment here saves frustration.

Clarify:

• Number of passes included for the agreed level.
• Whether a follow-up check on revised pages is included, with a word-count cap and a time window.
• Whether a second full pass counts as a new project, with a fresh estimate.
• How questions move during the pass. Comments in the doc, email threads, or scheduled calls.

An example for clarity:

• One deep line edit across full manuscript.
• One light check on revised chapters up to 10,000 words within 30 days.
• Email Q&A for two weeks after delivery, replies within two business days.

Look at editor comments on sample pages. Queries should explain purpose, not bulldoze voice. “Goal here is clarity before punchline. Consider breaking the sentence.” That sort of note keeps authorship intact and outcomes clear.

Payment terms, cancellations, and rescheduling

Money conversations prove professionalism. Ask for written terms.

Common structures:

• Deposit at booking, often 30 to 50 percent, nonrefundable once the start date lands and work begins.
• Milestone payments tied to delivery of portions or set dates.
• Final payment on delivery, prior to the debrief.
• Late payment fees named upfront.

Life happens. Look for:

• Refund terms before work starts.
• Kill fee once work begins, often a percentage covering time already spent.
• Rescheduling options if the manuscript needs more polish before edit. Some editors move the slot, others charge a hold fee.
• Pause policy if scope balloons during work.

Everything above belongs in writing. Ambiguity leads to friction.

Contracts and confidentiality

No contract, no project. A clear agreement protects both sides.

Essentials in a good contract:

• Scope. Level of edit, word count, file format, and what the editor does and does not do.
• Deliverables. Edited file format, style sheet, editorial letter length, number of calls.
• Timeline. Start date, delivery dates, buffers, and response-time norms.
• Passes and revision review. How many, window for revised pages, caps, and pricing for extras.
• Style guides and dictionary. For example, Chicago Manual of Style and Merriam-Webster.
• Payment terms. Deposit, milestones, due dates, late fees.
• Rights. You retain all rights to the manuscript and revisions. Editor holds no claim on copyright.
• Credit. Whether acknowledgments mention the editor, optional and author’s choice.
• Confidentiality. Non-disclosure language which covers files, ideas, and private information.
• Liability limits. Editor responsibility for errors limited to fee paid, not lost sales or third-party claims.
• Dispute steps. How parties try to resolve, and which jurisdiction governs.

Concerned about sensitive content, pen names, or exclusive material under contract elsewhere. Ask for an NDA. Many editors include confidentiality in the main agreement, which often covers the need.

Quick sniff test. If an editor refuses to sign anything, or avoids a contract, walk away. Professionals love clarity.

Five questions to send today

• How do you price this project, and what exactly comes with the quote.
• What scope triggers extra fees. Name examples.
• What dates sit on your calendar for kickoff, delivery, and debrief. Where do my revision buffers fit.
• How many passes come with the price. Do you review my revisions, with what cap and window.
• Will you provide a contract and confidentiality terms, with scope, deliverables, rights, and payment schedule spelled out.

Clear terms free you up to focus on pages. Editors do better work when scope, money, and calendar stop being a guessing game.

Collaboration, Communication, and Voice

Editing is a partnership. You bring the voice. The editor brings judgment and structure. The goal is polish without swap.

Protecting your voice

Ask the editor to explain how they approach voice. You want coaching, not ghostwriting.

Good signs:

• They start with a voice brief. A one-page note that lists comps, audience, tone words, and nonnegotiables. For example, keep sentence fragments in action scenes. Preserve regional slang in dialogue. No pet names in narration.
• They talk about patterns, not single fixes. Rhythm, sentence length, and point of view choices should stay yours.
• Their sample edit includes queries that explain intent. Actionable, plain language. No line edit that reads like their prose.

Examples of comments you want to see:

• “The beat is strong, but the joke lands late. Would breaking after this verb keep your cadence and sharpen timing.”
• “Your narrator uses short bursts in high tension. I left the fragments, but flagged any that blurred meaning. See three comments.”
• “This is a repeated word in two sentences. If repetition is a voice choice, I can code that on the style sheet.”

Examples that should make you pause:

• “I rewrote this paragraph to sound more elegant.”
• “I fixed your fragments. Full sentences read better.”
• “This is wrong, change it.”

If an editor needs to show an alternate phrasing, they should label it as an option and keep your diction. Their default should be to ask, not assume.

A micro before and after

Author line:

“She laughed then said stop. Nobody moved.”

Bulldozing edit:

“She laughed, and then she said to stop. No one moved.”

Coaching edit:

“She laughed, then said, stop. Nobody moved.”

Comment: “Kept your clipped tone. Added commas for beats. If you want a harder snap, try line break after said.”

Communication you can count on

Decide how you will talk, and how often, before the work starts.

Basics to fix in writing:

• Channels. Email, a shared doc, or scheduled calls. Slack is great for teams, but only if both sides prefer it.
• Cadence. A weekly check-in keeps surprises away. A quick Friday note works. Current status, next milestone, any blockers.
• Response times. Editors often set 1 to 2 business days for email during active work. Faster for urgent file issues.
• Query handling. Some editors batch questions in one mid-project memo. Others drop comments as they go. Pick a method.
• Q and A window after delivery. Two to four weeks is common. That includes a debrief call and follow-up clarifications.

Agree on time zones and office hours. If you send a midnight note on Friday, expect a reply on Monday. Professional, not on-call.

What happens when you disagree

Disagreement is normal. Your editor should bring a rationale, then respect your call.

Here is a clean way to handle it:

• The editor explains the change in a comment, with a reason tied to clarity, consistency, or reader expectation.
• You answer in the comment or on a call. If your choice stands, write STET. That means restore original.
• The editor notes the decision on the style sheet. Future instances follow the rule.

Real example:

• You write a thriller. You use sentence fragments to speed pace. A copyeditor flags fragments.
• You discuss. Decision, fragments allowed in action beats where meaning stays clear. Style sheet note, “Fragments ok in action. Avoid when dialogue or attribution becomes muddy.”

The style sheet is your friend. It records voice choices and saves you both from repeating the same debate across 300 pages.

Tools, files, and etiquette

Name your tools and file practices early. You avoid version chaos and lost changes.

• Word with Track Changes or Google Docs in Suggesting mode. If not stated, ask.
• Two files on delivery. A marked-up file with comments and edits visible, plus a clean file with changes accepted. The clean file helps you read flow without markup clutter.
• Version names with dates. Title_v1_2025-03-15.docx. No “final_final2.”
• A style sheet that travels with the file. It tracks decisions on spelling, hyphenation, numbers, dialogue punctuation, italics, capitalization, character names, and timeline.

Sample style sheet entries:

• Spelling. Email, no hyphen. Website, one word. Toward, not towards.
• Numbers. One to nine spelled out, 10 and up numerals, unless starting a sentence.
• Dialogue. Comma inside quotes. Ellipses spaced, like this … in dialogue. Thoughts in italics, no quotes.
• Voice notes. Fragments allowed in action. Slang stays in dialogue only. No pet names in narration.

Mind tone in comments. Direct is fine. Sarcasm is not. The best editors sound like a smart colleague, not a hall monitor.

Quick tests before you book

Run these on any sample edit you receive.

• Count the rewrites. Are whole sentences replaced without comment. Red flag.
• Read three comments aloud. Do they explain why, and offer options. Good sign.
• Check rhythm. Does the edited paragraph still sound like you. Or like a stranger.
• Look for a style sheet, even a simple one. If none appears, ask how they track decisions.
• Ask for their standard communication plan. If the answer is “we will see,” press for details.

Five questions to send today

• How do you preserve voice while editing my pages. Give a short example from the sample edit.
• Will you start with a voice brief. What do you need from me to write it.
• What is your plan for communication during the project. Channels, check-ins, and response times.
• How do you prefer to handle questions. Batches, live calls, or inline comments.
• If we disagree, how do we record the decision so the same change is not debated again.

Editors improve sentences. Great editors protect voice. Get clear on the relationship, the tools, and the ground rules. Then the work can sing, and it will still sound like you.

Risk Management and Red Flags

You are hiring judgment. Reduce risk with clear questions and a calm eye for trouble. Good editors set guardrails. Great ones tell you where those guardrails sit before the car moves.

Know where they draw the line

Ask, “What projects are not a fit for you, and why.” You want specifics, not hedging.

Strong answers often sound like this:

• “I do thrillers and book club fiction. I skip hard sci‑fi and rhyming picture books, since my instincts miss those beats.”
• “I avoid extreme gore and sexual violence. If a story relies on those elements, I will refer you to two trusted colleagues.”
• “I do not take 300,000‑word debuts. We would start with a cut plan, then a full dev edit once word count drops.”

Weak answers sound like this:

• “I edit everything.”
• “Genre is no big deal.”
• “We will figure it out.”

Boundaries are not a snub. They protect your book. If an editor knows where they do their best work, you get better advice. A referral list also shows a network, which signals experience.

Quick test:

• Ask for one example of a project they turned down, and the reason. Then ask who they sent the author to. You learn both judgment and generosity in one move.

First‑time pitfalls, and how pros handle them

Invite candor. “What common issues do you see with first‑time authors, and how do you address them.”

Look for a short list, paired with a plan. For example:

• Slow openings. Too much throat clearing. Fix, a cut pass aimed at the first three chapters, plus scene goals to keep momentum.
• Backstory dumps. Fix, move vital history into present‑tense choices or brief recalls. One paragraph rule per scene.
• POV drift. Fix, a quick primer on distance and head‑hopping, then a markup pass flagging slips with examples.
• Flabby middle. Fix, a beat map, stakes check, and a revision brief that picks three structural moves, not fifteen.
• Tense and timeline slips. Fix, a style sheet entry plus a chronology grid.

You also want revision support. Not line edits in a vacuum. Ask what you receive after a dev pass. Many editors provide an editorial letter, inline notes, and a 30 to 60 minute call. Bonus points for a short revision plan with priorities, word count targets, and a sequence.

Watch for scolding or certainty. Good editors speak in diagnostics. “Here is the effect on a reader.” “Here are two ways to solve it.” Ego does not help you revise.

Red flags worth walking away from

Save this list. Any one of these raises risk. Two or more, time to bow out.

• Promises about sales or bestseller status.
• No contract. Or a contract with fuzzy scope, no deliverables, no dates, or rights language that grabs ownership.
• Refusal to provide a sample edit or references. A quick page or two reveals voice fit and comment style.
• Hostility toward style guides and dictionaries. Trade books lean on Chicago and Merriam‑Webster, plus a custom style sheet.
• Vague pricing. “We will see where it lands.” Ask for a quote tied to word count, stage, and number of passes.
• Rock‑bottom rates paired with a two‑day turnaround on a full manuscript. Quality work takes time.
• Heavy rewriting in the editor’s voice, with no query explaining the change.
• No mention of a style sheet. Without one, consistency suffers.
• A surprise subcontractor. If the work moves to someone else, you deserve to know and to approve.
• An “AI only” pass with no human review, offered as complete editing. Automation has uses, but your book needs judgment.
• Pressure tactics. “Pay today or lose your slot,” before any scope or sample.

If any of this shows up, pause. Ask follow‑up questions. If answers wobble, keep your wallet closed.

How to run a low‑risk test

Send the same 10 pages and a one‑page synopsis to two or three editors. Include a short note with your goal. “Line edit with voice preservation for a humorous memoir.” Or “Dev edit focused on structure for a YA fantasy.”

Ask for:

• A light sample edit on those pages. Five to ten minutes per page is plenty.
• Two or three notes on strengths, plus the top three risks.
• A short scope of work with price, timeline, and deliverables.

Then compare.

Depth of feedback

• Are comments specific. “Cut this adverb” is weak. “Your rhythm is punchy, so modifiers dilute impact” is helpful.

Voice protection

• Do your sentences still sound like you. Edits should clarify, not sand off personality.

Genre fluency

• Do they mention comps, audience, or reader expectations. If you write romance, do they know heat levels and HEA norms. If you write nonfiction, do they speak to promise and takeaway.

Professionalism

• Do you receive a clear proposal. Start date, milestones, files you receive, Q and A window, and payment terms.

Tone

• Read three comments aloud. Do you feel coached. Or corrected.

Score each editor on a simple one to five scale in those areas. Pick the best match, not the cheapest or the fastest.

Email scripts you can steal

Use these lines verbatim if you like:

• “Which projects are not a fit for you, and why. If mine misses your sweet spot, two referrals would help.”
• “What common issues do you see with first‑time authors in my genre. How do you address those.”
• “Would you provide a one‑page sample edit and two references.”
• “Please outline scope, deliverables, timeline, price, and what triggers extra fees.”
• “If we disagree on a change, how do we record the decision for future chapters.”

Last word on risk

Editing is intimate work. Boundaries, clarity, and process reduce stress. If an editor shows clear limits, offers a fair test, and responds with steady, specific guidance, you have a partner. If you feel rushed, confused, or steamrolled, thank them and move on. Your book deserves the right fit. You do too.

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