What To Look For In A Professional Editor

Gary Smailes | 18 November 2025

Clarify the Type of Editing You Need

You have a draft and a headache. What sort of help do you need first. Start by matching the service to the problem in front of you, not the one you hope to have in six months.

The four types, in plain English

• Developmental editing
  • Focus: story, structure, argument, big moves.
  • You need it if: beta readers lose interest in the middle. A character changes hair color and personality between chapters. The romance fizzles. The argument wanders and never lands.
  • What you get: an editorial letter with clear notes on plot, arc, pacing, theme, and a plan for revision. Often, margin comments that point to scenes that drag or repeat.
  • Goal: a stronger book at the level of scenes and chapters, not sentences.
• Line editing
  • Focus: style, voice, rhythm, clarity at the sentence and paragraph level.
  • You need it if: the story works, yet the prose feels flat. Dialogue sounds stiff. Descriptions overstay. Transitions feel clunky.
  • What you get: tracked changes in your file, lots of inline comments on wording and flow, and a light style sheet for recurring choices.
  • Goal: prose that reads clean and alive, while your voice stays yours.
• Copyediting
  • Focus: grammar, punctuation, usage, consistency, and alignment with a style guide.
  • You need it if: the story and voice are in place, and you want correctness and uniformity. Think hyphenation, numbers, capitalization, and recurring terms.
  • What you get: corrected text in Track Changes, a robust style sheet, and queries where rules or logic need a decision.
  • Goal: a manuscript that meets professional standards without changing meaning or tone.
• Proofreading
  • Focus: final typos and layout glitches after typesetting.
  • You need it if: the book has been laid out in pages and you want a last pass for sneaky errors, widows, or funky breaks.
  • What you get: marked pages or a list of corrections keyed to page and line.
  • Goal: a clean file for print or upload.

Order matters. Developmental first, then line, then copyedit, then proofread. Reverse the order and you pay to polish words that might get deleted next month.

A quick self-audit

Give yourself forty minutes. No tinkering. Diagnosis only.

• Read your first chapter aloud. Note where you stumble, skim, or roll your eyes. Those spots point to line issues. If you feel bored despite clean sentences, that points to structure or stakes.
• Skim your scene list, or make one. One line per scene, with the location and purpose. If you cannot name the purpose, highlight the scene. That is developmental territory.
• Ask three readers what stuck with them. If they retell the plot in the wrong order, your structure needs work. If they quote lines and smile, style is working. If they mark missing commas and have few story notes, you are ready for copyediting.
• Open a random page and look for repeats. Words, sentence shapes, beats. If every paragraph starts the same way or relies on filler phrases, a line edit will pay off.
• Check continuity. Ages, timelines, distances. If the dog ages five years over a weekend, flag for developmental or copyediting support, depending on scope.

Score yourself:

• Mostly plot and character problems, or confusion about the argument. Choose developmental.
• Story holds, prose feels soggy or sharp in places only. Choose line.
• Style feels settled, you want correctness and consistency. Choose copyedit.
• Pages are laid out, you need a last sanity check. Choose proofread.

Still unsure. Ask for a manuscript assessment. It is a lower-cost big-picture review that ends with an editorial letter, not a marked-up file. You get clarity on next steps before investing in a full edit.

What each service fixes, with tiny examples

• Developmental
  • Symptom: Saggy middle. Stakes vanish for four chapters.
  • Fix: Reorder scenes, raise the midpoint turn, trim subplots that steal tension.
• Line
  • Symptom: “He walked quickly to the door. He was very angry.” Flat and wordy.
  • Fix: “He strode to the door, jaw tight.” Fewer words, stronger image, same meaning.
• Copyediting
  • Symptom: Email vs. e-mail, toward vs. towards, numbers written seven different ways.
  • Fix: One rule set, applied across the book, with notes on choices in a style sheet.
• Proofreading
  • Symptom: Teh instead of The on page 243. A header from the previous chapter. A hyphen that broke a word in a weird spot.
  • Fix: Page-level corrections before print.

How to request the right service

Use language that points to outcomes, not vibes.

• For developmental: “I want help with plot logic, character arcs, and pacing across the book. A letter with priorities and a plan would help me revise with focus.”
• For line: “The story stands. I need sentence-level work to improve flow and tighten prose while preserving voice. Track Changes with comments, please.”
• For copyediting: “I want a thorough check for grammar, usage, and consistency in line with Chicago. Please build a style sheet.”
• For proofreading: “Pages are laid out. I need a cold read for typos and layout errors before approving print.”

Attach a synopsis and target word count. State your timeline and where you think the manuscript sits now. Inviting a quick sanity check is fine. A good editor will confirm or steer you to a better fit.

Two mini exercises to test your needs

• The 10-percent trim
  • Take a 1,000-word chapter.
  • Cut 100 words without losing meaning.
  • If this feels hard and the result reads sharper, a line edit sits high on the list.
• The stakes ladder
  • Pick your midpoint scene.
  • Write three sentences: what the protagonist wants, what stops them, what gets worse if they fail.
  • If this exposes mushy goals, you are looking at developmental work.

Common missteps to avoid

• Hiring a copyeditor to fix a broken plot. Copyeditors fix rules, not structure. You will still have the same story problems, only punctuated.
• Skipping the proofread after layout. New errors sneak in during design. A final pass protects your reputation.
• Mixing services in one pass without agreement. Line and copy work sometimes overlap, yet scope needs to be clear. Agree on priorities before work starts.

If you feel stuck

Ask for a sample review or assessment from two editors. Share the same 10 pages and a one-page synopsis. Compare diagnoses. Look for alignment on problem areas and for respect for your voice. The right editor will name the work ahead and explain why that step makes sense now.

Choose the edit that addresses your biggest pain point today. Solve the right problem in the right order, and every later pass gets easier.

Credentials and Proven Experience

You want an editor with receipts. Not big talk. Books on shelves. Happy authors who would hire them again.

What counts as a track record

• In-house publishing experience. Editors who have worked inside a house understand deadlines, production, and how a book moves from messy draft to finished pages.
• A portfolio of books like yours. Same genre, similar audience, similar ambition. If you write a fast-paced thriller, look for thrillers. If you write a reflective memoir, look for memoir.
• Training that fits the service. Copyeditors with style-guide chops and tested courses. Developmental editors with story-structure training and mentoring. Line editors with strong language and rhythm work.
• Professional memberships. EFA, CIEP, ACES. These groups promote standards and provide ongoing education. Membership alone does not prove skill, yet it does show engagement with the profession.

Strong editors show outcomes. Clarity in the prose. Stronger structure. Fewer mistakes. A repeat client list.

How to verify without guesswork

• Check acknowledgments pages. Search the Look Inside on retailer pages or Google Books. Authors often thank editors by name. Copyeditors and proofreaders appear in the credits page for many books. If you find the name, note the edition.
• Use the ISBN to confirm details. Plug it into a library catalog or the publisher site. Match name, imprint, and year.
• Compare claims on a website to public records. If an editor says they worked on a series, look for acknowledgments across volumes.
• Ask for 2 or 3 author references. Then follow up. Short emails work well.
• Review work samples. Before and after pages, anonymized if needed, or a case study that shows the problem and the outcome.

Confidentiality limits how much an editor shares. Expect anonymized files or summaries, not entire manuscripts. A short sample edit for your pages belongs in the hiring process, which you will handle in the section on samples.

Questions for author references

Skip “Were they good.” Aim for specifics.

• What service did you hire and for which genre.
• Did deadlines hold from start to finish.
• How clear were notes and queries.
• Did the editor respect your voice and intent.
• How did they handle disagreement.
• Would you hire them again, and why.

Two short calls reveal more than a page of testimonials. Listen for patterns. Steady communication. Focused feedback. No drama.

How to read a portfolio

Do not get dazzled by a single bestseller. Look for breadth and fit.

• Genre match. At least a few titles near your lane.
• Recency. Work from the last few years, not only older titles.
• Role clarity. Were they the developmental editor, line editor, copyeditor, or proofreader. The title matters.
• Outcomes. Do reviews mention clean prose, tight pacing, or clarity. Reviewers love to flag typos. Fewer complaints signal strong quality control.

If a portfolio looks thin, ask why. New editors enter the field every year. Some arrive from in-house roles with many uncredited projects. Others pivot from journalism or academia. In those cases, ask for a sample edit and a mentor’s reference.

Training that means something

Certificates and courses vary. Look for programs with assessments and instructor feedback, not only attendance. For copyediting, you want deep knowledge of Chicago style and a record of building style sheets. For developmental work, ask about story frameworks they use, and how they adapt those to different genres. For line editing, ask for examples of edits that improved flow while keeping the writer’s voice intact.

Short story: an author sent me two pages from an editor who rewrote every line to sound like the editor’s own essays. Slick. Wrong. Good line editors offer options, explain why, and protect tone. If a sample reads like a takeover, walk.

Mini audit for credibility

Give this five minutes.

• Search the editor’s name plus “acknowledgments.” Do three real books pop up.
• Open one portfolio book. Flip to the credits. Is the role listed.
• Email one reference. Do they reply within a day or two with clear answers.
• Ask for one anonymized before and after page. Do the edits improve meaning and rhythm without steamrolling the voice.

If you get vague answers or shifting stories, press pause.

A note on in-house vs freelance

In-house experience teaches systems, teamwork, and standards. Freelance veterans learn to manage scope, clients, and shifting genres. Either path works. You care about judgment, ethics, and outcomes. Do they name problems precisely. Do they offer solutions you understand. Do they keep boundaries and timelines. Evidence beats vibe every time.

Pick editors who show their work. Names in books. Clear roles. Authors who vouch for them. A little research here saves time, money, and a lot of regret later.

Genre and Market Alignment

Your editor needs to speak your genre's language. Not like a tourist with a phrasebook. Like a native who knows the rules and where to bend them.

Why genre fluency matters

Romance readers expect emotional beats at specific moments. The meet-cute. The dark moment. The grand gesture. A developmental editor working on romance should spot when those beats feel flat or land in the wrong place. They need to understand subgenres too. Contemporary romance moves faster than historical. Paranormal romance allows different stakes than small-town romance.

Thriller readers want momentum. They forgive some logic gaps if the pace stays tight. A line editor in this space knows how to tighten paragraphs, cut filler dialogue, and keep chapters ending on hooks. They also know when to slow down for character moments that make readers care about who lives or dies.

Science fiction and fantasy demand consistent worldbuilding. Magic systems need rules. Technology needs limits. An editor in these genres should flag when you break your own logic, when exposition dumps interrupt story flow, and when invented terms pile up without explanation.

Memoir readers want authentic voice and emotional truth. The editor should help you find the through-line, cut scenes that don't serve the larger story, and guide you toward vulnerability without exploitation.

Generic editing advice falls short in all these cases. "Show don't tell" means something different in cozy mystery than in literary fiction. Word count expectations vary wildly. Voice conventions shift between age categories.

How to test genre knowledge

Ask direct questions. The answers will tell you everything.

"How would you position my book in the market?" Listen for specific comp titles, not vague categories. A good editor names 2-3 books published in the last few years that share similar elements. They explain what works about those comparisons and where your book might differ.

"What pitfalls should we watch for in this genre?" Strong answers show awareness of reader expectations and market trends. In young adult, they might mention avoiding adult language or situations. In mystery, they might flag the importance of fair play clues. In literary fiction, they might discuss balancing beautiful prose with forward momentum.

"What word count range works for this genre and audience?" Professional editors know these numbers. Middle grade tops out around 55,000 words. Adult fantasy allows more length than contemporary fiction. Picture books follow tight parameters.

"What content warnings or sensitivity issues might come up?" Different genres carry different reader expectations around trigger warnings, representation, and cultural elements. An editor working in your space should know the current conversations.

Red flags in genre discussions

Watch out for editors who speak in generalities or seem to apply the same advice to every book.

• They use terms like "all readers want" without mentioning genre differences.
• They suggest comp titles from decades ago or outside your category.
• They dismiss genre conventions as "formulaic" instead of understanding their purpose.
• They focus only on literary merit without considering commercial appeal or reader expectations.
• They suggest major changes that would shift your book into a different genre entirely.

Market awareness beyond the basics

Publishing moves fast. Trends shift. New subgenres emerge. Your editor should track recent releases, not just classics.

Ask about recent debuts in your space. What worked? What flopped? Which publishers seem most active in your genre right now? The answers reveal whether they stay current or rely on outdated knowledge.

Genre-savvy editors also understand submission strategy. They know which agents represent your category, which publishers have strong track records, and how to position your work for the best chance at traditional publication. Even if you plan to self-publish, this market knowledge helps with positioning and marketing decisions.

Sub-genre specifics matter

Romance alone includes dozens of subgenres, each with distinct expectations. Historical romance readers expect different research depth than contemporary romance readers. Paranormal romance allows supernatural solutions that would feel like cheating in romantic suspense.

Mystery splits into cozy, police procedural, hard-boiled, and psychological suspense. Each subgenre has different violence levels, language expectations, and series potential.

Literary fiction spans experimental narrative to accessible storytelling, with different expectations for plot, character development, and prose style.

Your editor should understand these distinctions and help you meet reader expectations while finding fresh approaches.

Testing market positioning

Send a one-paragraph summary of your book and ask how they would pitch it. The response should include:

• Clear genre and subgenre identification
• Appropriate comp titles with explanations
• Target audience description
• Key selling points that match market expectations
• Potential challenges or market considerations

Compare responses from different editors. Look for specificity, current market knowledge, and enthusiasm for your particular project.

When genre expertise trumps general skill

A highly skilled editor working outside their genre knowledge might miss crucial elements. They might suggest changes that weaken your book's appeal to its intended audience. They might focus on craft issues while missing market positioning problems.

Better to work with a solid editor who knows your genre than a brilliant editor who treats all books the same way. Genre knowledge shapes every editing decision, from big-picture structure choices to line-level style preferences.

Find an editor who gets excited about the specific challenges and opportunities in your genre. Someone who reads widely in your category, follows industry trends, and understands what makes readers pick up your type of book.

Your editor should be your partner in reaching the right readers with a book that delivers on their expectations while offering something fresh and compelling.

Methodology, Standards, and Tools

Professional editors don't wing it. They follow established standards, use consistent processes, and deliver work you understand. The difference between a pro and someone who "loves books" shows up in their methodology.

Style guides matter more than you think

Ask which style guide your editor follows. The answer should be immediate and specific.

Chicago Manual of Style dominates book publishing. It covers everything from comma usage to citation formats. Most professional editors default to Chicago unless you specify otherwise.

Associated Press (AP) style works for journalism and some nonfiction. Modern Language Association (MLA) appears in academic writing. American Medical Association (AMA) style serves medical and scientific texts.

Your editor should explain their choice and stick to it throughout your manuscript. Consistency matters more than personal preference. Readers notice when comma rules shift between chapters or when capitalization follows different patterns.

Beyond the main style guide, editors choose reference sources. Merriam-Webster provides the standard for American spelling and definitions. The Oxford English Dictionary serves British English. Specialized dictionaries cover technical terms, regional language, or historical usage.

Editorial letters separate pros from amateurs

A professional developmental or line edit includes an editorial letter. This document summarizes the editor's overall assessment, explains major recommendations, and provides a roadmap for revision.

Good editorial letters run 3-8 pages for most projects. They address big-picture issues first, then move to patterns and smaller concerns. They explain the reasoning behind suggestions, not just what to change.

The letter should feel encouraging while being honest about problems. It should acknowledge what works well in your manuscript alongside areas for improvement. Most importantly, it should make you want to dive into revisions rather than hide under your desk.

Copyeditors provide shorter letters focusing on consistency issues, fact-checking notes, and grammar patterns. Even proofreaders might include brief notes about layout concerns or repeated errors.

No editorial letter means you're not getting professional service. Run away from editors who only provide inline comments without context or explanation.

Inline comments show the editor's thinking

Professional editors work in Track Changes (Microsoft Word) or Suggestions mode (Google Docs). Their comments explain the reasoning behind edits.

Instead of just changing "utilize" to "use," they might note: "Simpler word choice maintains conversational tone." Rather than deleting a paragraph, they explain: "This backstory interrupts the tension here. Consider moving to chapter 3 where it would provide natural pacing."

Good inline comments teach you to become a better writer. They show patterns in your work, explain publishing conventions, and help you understand reader expectations.

Watch out for editors who make changes without explanation or who provide vague comments like "awkward" or "unclear" without suggesting solutions.

Style sheets prevent chaos

Professional editors maintain style sheets throughout their work. These documents track decisions about character names, place names, capitalization choices, hyphenation patterns, and other consistency issues.

Your style sheet becomes a reference for future projects. If you plan a series, it ensures character descriptions and world details stay consistent across books. Even standalone works benefit from having these decisions documented.

A basic style sheet includes:

• Character names, ages, descriptions
• Place names and descriptions
• Specialized terms and their preferred spellings
• Numbers style (spell out or use numerals)
• Capitalization preferences for your specific text
• Timeline or chronology notes

Ask to see the style sheet when your edit is complete. Professional editors provide this document as part of their deliverables.

Version control saves your sanity

Professional editors manage multiple versions of your manuscript without losing track of changes. They should explain their system upfront.

Some editors work in passes. First pass addresses big-picture issues. Second pass focuses on line-level improvements. Third pass catches remaining errors. Each pass generates a new document version with clear naming conventions.

Others prefer to work through the entire manuscript once, addressing all levels of editing simultaneously. This approach works better for lighter edits or shorter projects.

Either way, your editor should maintain clean files, use consistent naming systems, and provide clear instructions for reviewing their work.

Google Docs enables real-time collaboration but creates challenges with version control. Microsoft Word's Track Changes offers more robust editing tools but requires compatible software.

Discuss the technical requirements before starting. Make sure you have the right software and understand how to review the editor's work.

Deliverables should be crystal clear

Professional editors specify exactly what you'll receive. The list might include:

• Edited manuscript with Track Changes
• Clean version accepting all changes
• Editorial letter
• Style sheet
• Fact-checking notes (if applicable)
• Timeline for completion

Some editors offer additional services like sensitivity reads, fact-checking, or bibliography formatting. These services cost extra and should be discussed upfront.

Ask about revision windows. Most editors include one round of clarification questions in their fee. Additional revision passes cost extra and should be outlined in your agreement.

Technology requirements and preferences

Different editors prefer different tools. Some work exclusively in Microsoft Word. Others embrace Google Docs, Scrivener, or specialized editing software.

Make sure your editor's preferred tools match your capabilities. If they work in Word 2021 and you use Word 2016, formatting might shift. If they love Scrivener and you've never heard of it, communication becomes difficult.

Most professional editors adapt to your preferred platform within reason. They should explain any limitations upfront and suggest alternatives if necessary.

Quality control measures

Professional editors build quality checks into their process. They might:

• Run spell-check and grammar-check tools as a final pass
• Search for commonly confused words (its/it's, your/you're)
• Check for consistent formatting throughout the document
• Verify that all comments and suggestions are clear and complete
• Review their style sheet against the final manuscript

These steps separate professional work from casual editing. They show attention to detail and commitment to delivering polished results.

Questions to ask before hiring

Get specific about methodology:

• Which style guide will you follow?
• What tools do you use for editing and communication?
• What documents will I receive when the edit is complete?
• How many passes do you make through the manuscript?
• How do you handle version control and file management?
• What happens if I have questions about your suggestions?

The answers reveal whether you're dealing with a professional who has systems in place or someone making it up as they go.

Professional methodology protects both you and your editor. Clear processes prevent misunderstandings, manage expectations, and ensure you receive the level of service you're paying for.

Look for editors who explain their approach confidently and provide examples of their deliverables. Their methodology should inspire confidence in their professionalism and respect for your work.

Sample Edit and Communication Fit

A sample edit is the screen test for your book. Five to ten pages, marked up in Track Changes or Google suggestions, will show you more than a website or a pitch ever will.

You are looking for three things. Insight. Respect for your voice. Clear reasoning behind each suggestion.

What to send

Pick pages with variety. A scene with dialogue. A descriptive paragraph. A knotty sentence you have read eight times. Skip front matter. Avoid a prologue if it does not reflect the core voice.

Send the same pages to two or three editors. Give a short note on your goal and audience. “Fast, voicey mystery for book club readers,” for example. Ask for a short turnaround window and a brief outline of deliverables.

Some editors offer a free sample. Others charge a small fee, often credited to a booked project. Either approach is fine. You want the work, not a bargain.

What a strong sample looks like

Edits should feel precise, not busy. You want fewer errors, smoother rhythm, and stronger clarity. You also want your voice intact.

Weak comment: “Awkward.”
Stronger comment: “Three prepositional phrases in a row slow the line. Suggest trimming to one.”

Weak change: swapping every informal word for a textbook synonym.
Stronger change: keeping slang that suits character voice, tightening flabby phrasing around it.

Here is a simple example.

Original: “I was kind of thinking maybe we should try the back door, in case anyone, you know, sees us.”

Heavy-handed edit: “I thought we ought to try the rear entrance, in case anyone observes us.”
Result, voice gone.

Balanced edit: “I was thinking we try the back door, in case someone sees us.”
Result, cleaner line, same kid on the page.

Good editors explain the why. “Back-to-back hedges drain momentum. One hedge keeps the character’s nervous tone.” Or, “Your paragraph repeats the clue twice. One mention keeps tension tight.”

They also flag patterns. “Fragments add punch in action scenes. In quiet scenes, they scatter focus. Choose purposefully.” Pattern notes teach you how to revise the rest.

How to read the sample

Look for:

• Depth. Do notes move beyond comma nips to point out structure, pacing, or logic gaps on those pages.
• Tone. Do comments feel professional, direct, and supportive.
• Voice care. Do edits respect your diction, humor, and rhythm.
• Specificity. Do comments name the issue and offer a fix.
• Restraint. Do edits solve problems without rewriting you.

Queries matter too. Good editors ask questions before deciding. “Is this narrator seventeen or twenty-seven. Word choice leans older.” Or, “Is X meant as a red herring or a true clue. If red herring, softening might help.”

Vague praise tells you nothing. “Great job!” means little without a reason. You want notes like, “This beat lands because we see her choice hit cost.”

Communication fit, tested

Schedule a short call. Fifteen to twenty minutes is enough. Share your goals. Ask how they would approach your book.

Listen for:

• Clarity. Do they explain process in plain language.
• Listening. Do they paraphrase your aims before pitching fixes.
• Boundaries. Do they outline response times, weekends, holidays, rush fees.
• Collaboration style. Do they welcome pushback and propose options.
• Professionalism. Do they reference style guides, workflow, and deliverables without you dragging it out of them.

Good questions to bring:

• How many passes do you plan for this scope.
• What files will I receive, and in which format.
• If we disagree on a change, how do we resolve it.
• What timeline do you recommend for my word count.
• Do you provide a short follow-up window for questions after delivery.

You want answers that feel steady and specific. “I work in Word with Track Changes. You receive a marked file, a clean file, an editorial note, and a style sheet. One week for a 10k sample, six weeks for a full line edit of 80k. Two weeks of email questions after delivery.” That level of detail builds trust.

Run a fair test

Give each editor the same brief, pages, and deadline. Tell them your priorities. “Voice over perfect grammar.” Or, “Absolute consistency for a technical audience.” Context helps them show you their best.

When the files arrive, review in this order:

1. Read the clean version out loud. Does the prose still sound like you.
2. Scan comments. Do you learn something from them.
3. Check changes. Do edits fix errors without inventing new ones.
4. Note feelings. Defensive is normal. After an hour, does the work feel useful.

If one sample goes deep but feels heavy-handed, ask for a lighter touch on a paragraph or two. See how they adjust. Flexibility matters.

Red flags

• Guarantees about bestseller status or agent offers.
• Edits that flatten voice or rewrite meaning.
• Walls of rules without context.
• No questions, only orders.
• Vague timelines or no mention of deliverables.
• Pressure to book today “or lose your spot.”
• Refusal to provide a sample or references.

One more quiet red flag, jokes at your expense. You want sharp notes, never snide ones.

A quick mini-exercise

Pick a page from your current chapter with three problems you know are there. A timeline wobble. A clunky transition. A line of dialogue you love even though it does not earn its place.

Send that page for a sample. See who spots all three, then shows you a path forward without tearing the page into something unrecognizable.

What success looks like

After a strong sample and a good call, you should feel two things. Relief, because someone understands your book. Energy, because notes point to achievable fixes.

That is the fit you want. An editor who sharpens your work, guards your voice, and communicates in a way that keeps you writing.

Scope, Pricing, Contracts—and Red Flags

The handshake deal is dead. Professional editing requires a contract. Not because editors are untrustworthy, but because memory is unreliable and stakes are high.

Your manuscript is months or years of work. The editor's time is their livelihood. Both parties deserve clarity on what happens, when, and for how much.

Defining the scope

Start with deliverables. What files will you receive. An edited manuscript in Track Changes format. A clean version. An editorial letter summarizing key issues. A style sheet listing grammar and formatting choices.

Some editors include extras. A one-page synopsis edit. A revision checklist. A short follow-up call. Others charge separately for these services. Both approaches work, provided you know upfront.

Word count matters. Editors price by length, so confirm your target number. If your 80,000-word manuscript balloons to 95,000 during revision, expect additional charges. Good contracts specify a range or threshold. "Up to 85k words included. Additional words billed at $X per thousand."

Timeline is non-negotiable. When does the editor receive your full file. When do you get it back. What happens if you deliver late. What happens if they do.

Professional editors book weeks or months ahead. Rush jobs cost extra and disrupt other projects. If you need your manuscript back in ten days, say so upfront. The editor will either quote rush pricing or decline.

Pricing structures

Editors charge three ways. Per word, per hour, or per project.

Per-word pricing offers predictability. "Line editing at four cents per word" means your 80,000-word manuscript costs $3,200. No mystery math.

Hourly rates suit complex projects with unknown variables. Developmental editing might require fifteen hours for a tight manuscript, forty for a wandering one. Experienced editors estimate hours accurately.

Project rates bundle everything into one number. The editor quotes based on their assessment of time and difficulty. You pay the quoted amount regardless of how long the work takes.

Ask how payment works. Some editors request half upfront, half on delivery. Others split into thirds with milestones. A few ask for full payment before starting. All are legitimate approaches.

Avoid editors who demand full payment months before delivery without milestones. Your money should release as work completes.

Contract essentials

A professional contract covers these areas:

Services and deliverables. What type of editing. Which files you receive. Timeline for delivery.

Payment terms. Total cost, payment schedule, accepted methods, late fees if applicable.

Revision windows. How long you have to ask questions after delivery. Whether small fixes are included or billed separately.

Cancellation policies. What happens if you change your mind. What portion of payment the editor keeps for work completed.

Confidentiality. Your manuscript stays private. The editor won't share pages, plot details, or client information.

Rights and credits. You own your work before, during, and after editing. The editor may request acknowledgment credit but cannot claim authorship or royalties.

Communication standards. Response times for emails. Preferred contact methods. Holiday and weekend policies.

Simple contracts work fine. Two pages covering the basics beats ten pages of legal jargon nobody reads.

Red flags to dodge

Some warning signs appear before you even see a contract.

Guaranteed outcomes. "I guarantee your book will get an agent" or "You'll hit the bestseller list after my edit." No editor controls external success. Run from these promises.

No sample available. Professional editors offer samples or point to published work. If they refuse both, find someone else.

Pressure tactics. "Book today or lose your spot in my exclusive program." Good editors are busy but not desperate. High-pressure sales belong in car lots, not editing relationships.

Unrealistic timelines. "I'll edit your 100,000-word novel over the weekend." Quality editing takes time. Speed promises signal corners cut.

No contract offered. "We'll work it out as we go." Verbal agreements lead to misunderstandings and disputes. Insist on written terms.

Upfront payment for future slots. "Pay now to reserve my services six months from now." This arrangement benefits only the editor. Book closer to your delivery date.

Vague pricing. "It depends" is not a quote. Professional editors provide clear estimates based on word count, service type, and timeline.

Money matters

Editing costs vary widely. Geographic location, experience level, and service type all affect rates. A developmental editor in New York charges more than a copyeditor in Ohio. Both provide value at their price points.

Budget roughly:

• Proofreading: $1-3 per page or $0.01-0.03 per word
• Copyediting: $2-5 per page or $0.02-0.05 per word
• Line editing: $3-8 per page or $0.03-0.08 per word
• Developmental editing: $5-15 per page or $0.05-0.15 per word

Ranges reflect experience, location, and complexity. Literary fiction often costs more than commercial genres due to style demands.

Remember: cheap editing usually is. The $500 line edit for your 80,000-word novel probably delivers $500 worth of work. Professional rates exist because professional editing takes skill and time.

Questions to ask before signing

• What format will I receive my edited files in.
• How many rounds of review are included in this price.
• What happens if my manuscript is longer than estimated.
• Do you provide a style sheet and editorial letter.
• What is your policy on rush jobs and additional fees.
• How do you handle disagreements about specific edits.
• What is included in your follow-up support after delivery.

Protecting yourself

Read the contract before signing. Obvious advice that authors skip surprisingly often.

Clarify anything confusing. "Revision window" might mean two weeks to ask questions or two weeks to request changes. Know which.

Keep records. Save emails discussing scope, timeline changes, or additional services. Print or download the signed contract.

Pay attention to your gut. If the editor seems evasive about terms, find another one. Business clarity usually predicts work quality.

A final note on value

Good editing costs money because it saves time. The editor who charges $4,000 to fix structural problems might save you months of revision. The copyeditor who charges $1,500 to polish prose might prevent embarrassing errors in print.

Consider editing an investment in your book's success, not an expense to minimize. The right editor, working under clear terms, will earn their fee by making your manuscript stronger.

But get those terms in writing first.

Frequently Asked Questions

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