What A Professional Developmental Edit Looks Like

Gary Smailes | 18 November 2025

Scope of a Professional Developmental Edit

You hire a developmental editor for structure. Big picture decisions. Not commas. The goal is a book that holds a reader from page one to the last line.

Here is the focus:

• Plot. Does cause lead to effect, scene by scene.
• Character arcs. Who changes, why, and when.
• Stakes. What stands to be lost, what pressure rises over time.
• Pacing. Where momentum dips, where breathers belong.
• Theme. A clear throughline that pays off.
• Point of view. Who holds the camera, and how close the lens sits.
• Genre expectations. What the audience expects, and where your book delivers or swerves.

How this differs from other edits

A manuscript assessment offers diagnosis only. You receive broad notes, maybe a few examples, and a high-level plan. No scene map. No heavy margin work.

A developmental edit goes deeper. You receive a global letter, page comments, a scene list, and a ranked set of fixes. You leave with a plan.

Line editing and copyediting come later. Those passes polish sentences, punch up voice, and fix errors once structure holds.

The reader experience test

A pro reads like a reader first. Then like an engineer.

• Are goals clear by page one.
• Do obstacles escalate in a way that feels earned.
• Does each scene produce a change.
• Does tension reset or rise at the right moments.
• Do questions pull you forward, not confuse you.

Quick exercise

• Read your first three chapters out loud. After each scene, write one line: goal, conflict, outcome. If any line stalls on “talks,” “thinks,” or “decides later,” mark for revision.

Market fit matters

A strong story still fails if the promise fights the shelf.

• Genre conventions. Romance expects an HEA or HFN. Horror wants dread early. Mystery needs a puzzle with fair clues. Know the promise.
• Comps. Two or three honest comparisons that guide readers toward your vibe, not only your plot.
• Word count. Stay near the range readers trust for your shelf.
• Promise from opening to climax. The hook you set early must land at the end.

Mini check

• Ask a friend who reads your genre to write the promise in one sentence after chapter one. Compare with your intent. Adjust the opening if the answers drift.

Systemic issues a dev edit targets

• Weak midpoint. The story drifts because nothing forces a fresh course. Fix by creating a choice with cost.
• Sagging middle. Repetition without pressure. Fix by tying each beat to a ticking event or rival push.
• Head-hopping POV. Emotional noise and lost intimacy. Fix by locking one lens per scene and deepening interiority where turns hit.
• Soft antagonists. Vague opposition leads to soft tension. Fix by giving the opponent a clear goal that slams into the protagonist’s goal.
• Unclear thesis in nonfiction. Readers wander. Fix by stating the promise early, then structuring chapters as steps toward it.
• Repetitive scenes. Similar beats in new rooms. Fix by merging or cutting, then raising consequences in the keeper.

Spot check

• Print a scene list. If three scenes repeat the same conflict with no new cost, reduce to one strong scene.

Prioritized solutions, not a grab bag

A good dev edit ranks work in a sequence that lifts the whole book.

First tier, fixes that move the spine

• Write a one-line spine. Protagonist wants X, obstacle Y stands in the way, failure costs Z. Keep it visible while revising.
• Restructure the first act to place the inciting event early enough for your shelf.
• Build a midpoint decision that shifts stakes and exposes a lie or misbelief.
• Trim or merge side plots that do not touch the main line.

Second tier, scene-level outcomes

• Label every scene with goal, conflict, outcome. Remove or combine scenes without change.
• Re-sequence for cause and effect. Because this happened, next scene must follow.
• Strengthen entry and exit beats. Begin on motion or pressure. End on choice or new question.

Third tier, support systems

• Clarify POV rules. One lens per scene, intentional shifts only.
• Sharpen antagonistic force. Give it resources, a plan, and progress on the board.
• For nonfiction, create a chapter ladder. Each rung advances the thesis with fresh evidence.

A quick before and after, boiled down

• Before. Two mentors give similar advice in four scenes. Travel chapters slow momentum. The reveal sits late, so tension leaks.
• After. Mentors merged into one complex ally. Two travel chapters cut, one converted into a deadline-driven obstacle. Reveal moved to the midpoint, which forces a hard choice and lifts stakes.

Your revision plan should read like a checklist, not a wish list. Start with structure. Move to scenes. Close with rhythm and voice. Grammar waits until the house stands.

The scope of a developmental edit is simple to name and hard to fake. Big picture, reader promise, market fit, systemic fixes, and a ranked path forward. You leave knowing what to change, why it matters, and in what order to do the work.

What You Receive: Professional Deliverables

You pay for clarity, and you leave with a stack of concrete tools. Not vibes. Not mystery. Real documents you will use during revision. Here is what arrives in a professional package.

Editorial letter

Length: 8 to 20 pages, sometimes more. Purpose: a global read on structure, character, theme, pacing, and a ranked plan for revision.

The letter summarizes the current read, names the core promise, and points to the exact points where momentum slips. Expect a section on plot and a section on character. Expect notes on point of view, scene balance, and genre signals. The final pages lay out a step-by-step plan, in order, so you know where to start.

Sample lines from a strong letter

• “Open on change. The current first scene reports history. Move the catalyst earlier and anchor in present action.”
• “Stakes rise in chapter six, then stall. Combine chapters seven and eight into one escalating beat.”
• “Lock POV to Mara in the hospital sequence. Head shifts break tension during the reveal.”
• “Midpoint lacks a decision. Add a choice with cost, then show fallout in the next two scenes.”

How to read the letter

• Skim once for gist. Walk away. Return with a pen.
• Mark items you agree with in green. Mark items you resist in red. Pay special attention to red. Resistance often hides a soft spot.

Annotated manuscript

You receive a full file with margin comments and inline queries. Track Changes or PDF comments, your choice. Line edits belong to a later stage, so the focus sits on story outcomes, not comma placement.

What margin notes cover

• Scene goals, stated in clear language.
• Where tension dips, and why.
• POV drift, with a note on how to pull the lens back to the owner.
• Repetition across scenes, with a merge suggestion.
• Questions a reader raises while moving through the page.

Example margin notes

• “What does Hana want in this scene. Put the want in line one if possible.”
• “Three paragraphs of setup here. Try one line, then move to the argument.”
• “We see four emotions at once. Pick the most important feeling and build around that.”
• “Rival enters and exits without effect. Give a tell, a hint, or a cost.”

Tip for using comments

• Create a checklist from the notes, then clear items in order of impact. Top first.

Scene map or beat sheet

You also receive a scene list. One line per scene with purpose, POV, word count, conflict, outcome, and placement on major beats. Often delivered as a spreadsheet or table. This tool lets you see the whole book at a glance.

A sample row

• Scene 12. POV: Devon. Purpose: pressure job risk during family dinner. Conflict: father defends the boss. Outcome: Devon lies, stakes rise. Beat: pre-midpoint squeeze.

What this map reveals

• Scenes without change.
• Clusters where goals repeat without new cost.
• Gaps before the midpoint or after the dark turn.
• Side plots pulling focus away from the spine.

Quick exercise

• Read the map once. Mark any row where “outcome” equals “same” or “no change.” Those rows need a merge, a cut, or a higher cost.

Character and stakes notes

Expect a one-page summary per central character. Motivations, misbeliefs, external goals, internal needs, and step-by-step arc. You also receive a stakes ladder, which shows how pressure grows across quarters.

Example entries

• Protagonist misbelief: love demands self-erasure. Evidence by chapter: 3, 7, 11. Break point: midpoint confession. New belief tested: boundaries equal love.
• Antagonistic force: departmental policy, personified by the CFO. Goal: cut losses. Tactics escalate from memos to audits to legal threat.
• Stakes ladder: personal job risk in act one. Family fallout in act two. Freedom at risk in act three.

For nonfiction, the same tool shifts slightly

• Thesis in one clear sentence.
• Audience promise in plain words.
• Chapter-by-chapter support, with diversified evidence types. Case study, data point, story, counterpoint.

Timeline and continuity check

Chronology matters. A pro editor flags weekday drift, season drift, travel times, and aging math. Location details and names stay consistent. Hair color in chapter two matches hair color in chapter twenty. Holidays line up with dates.

Common flags

• Tuesday follows Monday twice in the same week.
• Sunrise at 9 a.m. in June, set in Arizona.
• A character spends three hours driving between neighborhoods ten miles apart.
• A pet goldfish transforms into a beta fish by accident.
• A chapter promises rain, then a later scene calls the day bone dry.

You receive a timeline grid or a brief report, plus notes tagged in the manuscript. Fixes come easy once the gaps sit in plain view.

Follow-up support

Good feedback lands best with support. You receive a debrief call or a Q&A window. Use this time to test understanding, pick priorities, and set a realistic schedule.

How to make the most of the debrief

• Arrive with three core goals. Example: confirm the new opening, confirm the midpoint choice, confirm which subplot to cut.
• Bring two scenes you fear. Walk through them with the editor.
• Ask for one sample fix. Not a rewrite, a model. A paragraph showing direction saves hours later.

After the call, you leave with a short summary. Next steps in order. Milestones. File names. No fog.

What this package gives you

• A diagnosis, clearly written.
• A map of the book you wrote, not the book in your head.
• A prioritized plan you can follow without guesswork.
• Support to confirm choices during week one of revision.

Stack these tools on your desk. Start with the letter. Move to the map. Open the manuscript and hit the biggest notes first. The work feels smaller when each piece has a home.

The Editorial Workflow and Timeline

A strong developmental edit follows a clear path. No black box, no mystique. Here is what happens from hello to handoff, and what you do at each step.

Intake

Goal: confirm fit and set a realistic scope.

What you send

• Sample pages, usually 3,000 to 5,000 words.
• A one-page synopsis with spoilers.
• A short note on genre, audience, and comp titles.
• Word count and any deadlines on your side.

What you receive

• A quick read on fit and scope.
• A proposal with deliverables, fee, and timeline.
• A contract, invoice for deposit, and a start date.
• A simple questionnaire to surface goals and non-negotiables.

How to prep

• Pick two comp titles within five years.
• State the promise to the reader in one sentence.
• List three worries in rank order. Example: weak midpoint, thin stakes, voice drift.

Discovery pass

This is a full read, start to finish, without stopping to fuss over commas. The editor reads like a sharp beta reader with a ruler in hand. Notes focus on structure, genre signals, and reader promise. Where momentum dips. Where goals go fuzzy. Where tension spools and where it leaks.

What the editor tracks

• Opening promise and whether the book delivers.
• Throughline goals and obstacles.
• POV control and distance.
• Beat placement against genre norms.
• Stakes growth across quarters.

Your job during this week

• Do not revise pages in response to nerves.
• Gather comp passages that feel close to your target.
• Rest. Fresh eyes help during the debrief.

Mini exercise

• Write the book’s core question on a sticky note. Keep it near your desk. Every major change must serve that question.

Deep-dive pass

Now the heavy lift. The editor builds your documents. The editorial letter, the scene map or beat sheet, and an annotated manuscript. Every scene earns a purpose line. Outcomes get logged. POV drift gets flagged. Repetition gets merged or cut. Theme threads get tracked from setup through payoff.

What gets produced

• Editorial letter with a ranked plan. Start-to-finish guidance.
• Scene list with purpose, conflict, outcome, word count, and beat placement.
• Margin notes that point to turns, tension dips, and soft choices.

What this step solves

• A fuzzy spine becomes a clean sequence of steps.
• A soft midpoint gains a decision with cost.
• Side plots stop stealing oxygen from the main arc.

Your prep for delivery day

• Block two focused hours to read the letter without interruption.
• Clear space on your desk for a printout or a second screen.

Delivery and debrief

You receive all files on the agreed date. Then comes a call or video chat. The goal is clarity and momentum, not re-arguing taste. You leave with a plan you trust.

How the call runs

• Quick recap of big-picture notes.
• Walkthrough of priorities, in order.
• Time for targeted questions on two or three scenes.
• Agreement on next steps and checkpoints.

Bring to the call

• Three decisions you want settled. Example: new opening scene, midpoint choice, subplot trim.
• Two pages you fear. Read them aloud if helpful.
• One constraint. Example: a submission window in eight weeks.

After the call you get a short summary. Action list, milestones, file names. No fog.

Iteration

Optional, but wise after major surgery. Two common options.

• Sanity check. You revise the opening, midpoint, and final turn. The editor reviews those pages plus the updated scene map. Goal, confirm direction before full rewrite.
• Second pass. You complete a structural rewrite. The editor reads the full draft again, then updates the letter and map with fresh notes.

Set scope early, including page limits and turnaround. Keep momentum by booking a slot in advance.

Typical timelines

Timelines vary by word count, complexity, and your chosen level of support. A reliable range sits between two and six weeks.

Sample ranges

• Short novel or memoir, 60k to 75k words. Two to three weeks.
• Long novel, 90k to 110k words. Three to five weeks.
• Research-heavy nonfiction, 70k to 90k words with sources. Four to six weeks.

A sample schedule

• Week 0. Intake, contract, deposit, start date confirmed.
• Week 1. Discovery pass.
• Weeks 2 to 3. Deep-dive build.
• End of week 3. Delivery of all files.
• Early week 4. Debrief call. Summary sent within 24 hours.
• Weeks 6 to 8. Optional iteration slot for sanity check or second pass.

What helps timelines hold

• A clean, complete draft in one file.
• Page numbers and chapter headings.
• Your availability for the debrief within three days of delivery.

What to do while you wait

• Outline a revision checklist template with columns for keep, cut, expand, move.
• Draft a one-paragraph pitch for the book. Use it as a north star during changes.
• Read a comp with a pencil. Mark the midpoint decision and the final cost.

Follow this path and the process feels manageable. You know what arrives, when it arrives, and how to use each piece. Less guesswork. More progress.

Professional Before-and-After Mini Examples

Nothing beats seeing change on the page. Four quick passes, each one practical and repeatable.

Opening hook

Before

• Rain pooled along the curb. The town felt tired. Nora stood by the window, remembering last summer on the lake and the fight with her dad. Maybe she would call him. The clock ticked.

Editor’s note

• Enter on movement, not mood.
• Give the protagonist a present goal and a clear obstacle.
• Fold worldbuilding into action, not static description.

After

• Nora jogged up the courthouse steps, breath short, interview folder under her arm. A receptionist slid the sign-in sheet away. “Slot taken,” he said. “Sonia Cortez arrived early.” Rival. Job gone. Nora pressed her palm to the counter. “Give me five minutes.”

Try this

• Draft a one-sentence promise for page one. Who wants what, and who or what stands in the way. Write the scene to serve that promise.

POV and voice control

Before

• Mark’s jaw tightened. He hated this restaurant. Anna thought he looked handsome when he pretended to be calm. The waiter wished both of them would leave. The pasta smelled weird, Mark figured old garlic. Anna knew the waiter judged her dress.

Problems

• Three heads in six lines. No anchor. Feelings come labeled, not felt.

Editor’s note

• Pick one lens for the scene, then stay close.
• Use interior thoughts, sensory detail, and body language that belongs only to that lens.
• Let subtext carry judgment. No need to tell readers what everyone thinks.

After, Anna’s lens

• The candle guttered, smoke sweet and stale. Mark lined up the fork, then the knife. Two breaths in, two out. He did that before every hard talk. The waiter refilled water, eyes on the table, face blank. Anna tucked her dress under her thighs, silk slipping on the chair. “Say it,” she said.

Try this

• Mark the chosen POV at the top of every scene. During revision, delete any sentence no other person in that room would know.

Sagging middle

Before

• Chapter 14, the crew reaches Harbor A. Pirates attack, they escape. Chapter 15, they sail to Harbor B. Pirates attack again, they escape again. Chapter 16, a flirtation between side characters takes over while the main quest sits on pause.

Problems

• Repetition without change. Side plot steals oxygen. No rising cost.

Editor’s note

• Merge near-duplicate beats. Each sequence needs new risk or new knowledge.
• Tie obstacles to the protagonist’s core misbelief. Force a choice that carries a price.
• Build a midpoint which flips stakes or reveals a hard truth.

After

• One combined harbor sequence. The crew bargains for maps. The rival captain offers safe passage in exchange for the hero’s compass, a keepsake from her mother. She trades the compass. Safe for now, but the loss hits hard, and the rival learns their route. At midpoint, the rival springs the trap. The hero sees the pattern. Trust in deals has fueled every delay. New plan, break the pattern, no more bargains.

Try this

• List three scenes in a row. For each one, write the new thing learned and the new price paid. If one line repeats, cut or fold.

Nonfiction argument flow

Before

• Chapter 1 tells a story about burnout. Chapter 2 shares five habits for focus. Then a case study about a startup. Then a chapter on morning routines. The thesis hides in chapter 6, a paragraph on ownership over attention. Examples recycle the same two companies.

Problems

• No early promise. Chapters feel like standalone posts. Evidence repeats.

Editor’s note

• State the thesis by page 3. Give readers a clear promise.
• Turn chapters into steps toward a single outcome.
• Add signposts across chapters, and vary evidence, numbers, studies, field stories, and counterarguments.

After

• Page 1, thesis: “Attention is a finite budget. Treat it like money or someone else will spend it.” Chapter map follows a spine. Step 1, audit current attention leaks. Step 2, set one outcome metric. Step 3, build a daily plan around one deep block. Step 4, manage meetings with three rules. Each chapter opens with a preview, closes with a checkpoint. Examples range across industries, plus one case where the method failed and the fix that followed.

Try this

• Write a one-page table of contents where each chapter title completes this sentence: “After reading, you will be able to…” Draft chapter openers to match that promise.

What to notice

• Before samples rely on summary, mood, or repetition. After samples move, decide, and pay a cost.
• Editor notes do not chase style tics. Notes target experience on the page, goal, obstacle, turn, outcome.
• Each fix returns focus to promise, to the reader and to the protagonist.

Use these as templates. Swap names and settings. The shape holds across genres. When fear creeps in, run one small test. Write one new opening page. Lock one scene to one head. Merge two travel beats into one decision. Bring a buried thesis to page one. Progress starts there.

How to Use the Feedback: Building a Revision Plan

You have a thick letter and a busy margin. Good. Now turn it into a plan you trust, one pass at a time.

Triage by impact

Start big, then narrow.

• Macro, structure, stakes, POV, genre promise, thesis for nonfiction.
• Meso, scene goals, conflict, turns, placement.
• Micro, sentences, rhythm, word choice.

If the midpoint fails, do not polish chapter one. If POV drifts, do not trim adverbs. Fix the spine, then the joints, then the skin.

Quick test

• List your three biggest problems in plain words. Example, “no clear goal for the protagonist,” “soft antagonist,” “timeline confusion.” Tape that list above your desk. Every revision task must serve one of those.

Translate comments into tasks

Notes feel abstract. Tasks move work forward.

• Create a scene list. Columns, number, title, POV, word count, purpose, conflict, outcome, status.
• Add a decision column with four options, keep, cut, expand, move.
• Pull editor notes into that sheet as short commands. “Merge chase beats in 14 and 15.” “Give chapter 3 a clear want.” “Lock chapter 17 to Maya’s POV.”

Example

• Editor note, “Opening is mood only. Start with change.” Task, “Replace current page 1 with the rival taking Nora’s interview slot. Show want, obstacle, decision.”

Mini exercise

• Pick one note. Write one task that starts with a verb, cut, move, add, clarify, rename. If the task takes longer than one hour, split it into two.

Track outcomes scene by scene

Readers move forward for answers. Every scene needs a job.

Use a four-part check:

• Goal, what the viewpoint character wants now.
• Conflict, who or what pushes back.
• Turn, what shifts by the end.
• Question, what the reader wants to know next.

Write those four lines under each scene in the sheet.

Tiny example

• Goal, get the job interview back.
• Conflict, rival took the slot, receptionist blocks access.
• Turn, hero barges in, sees the rival with the hiring manager.
• Question, what will she risk to get five minutes.

If any line repeats from the last scene, rethink the scene. Merge or change the pressure.

Protect voice with layered passes

Voice erodes when you edit everything at once. Work in layers.

• Layer 1, beats only. Outline the new sequence in blunt sentences. No prose beauty yet.
• Layer 2, draft new or moved scenes to hit the beats. Keep the language plain.
• Layer 3, restore tone and cadence. Swap in your character’s diction. Add selective interiority.

Two small habits help:

• Keep a one-page “voice sampler.” A paragraph of freewriting for each main character. Read it before drafting scenes in that head.
• Create a “do not sand down” list. Signature words, sentence shapes, recurring images that define your book’s sound. Protect them on later passes.

Try this

• Take one revised scene. Read it aloud. Mark any sentence that sounds like you smoothing for teachers. Rewrite two of them to sound like your narrator speaks when tired and honest.

Validate changes

Stress-test the new structure before you fuss with commas.

• Beat sheet. List the major turns in order. Inciting incident, first threshold, midpoint, second threshold, climax. Write one sentence for each. Check cause and effect with a simple rule, “Because X, then Y.”
• Word count check. Make sure the book sits near the range for your genre. If you are far off, decide where the cuts or expansions will land.
• Market promise. Read page one, the midpoint, and the climax in one sitting. Do they deliver the same genre signal, tone, and level of risk.

Targeted readers help, not random ones.

• Pick two or three beta readers who love your genre and read at least five books in it per year.
• Give them a short brief tied to your problem list. Examples, “Flag any moment you skim. Mark where stakes feel flat. Tell me where you felt disoriented.”
• Use a simple survey. Three questions, Where did you pause. Who did you root for and why. What new question pulled you into the next chapter.

Plan next steps

Once the structure holds, schedule polishing.

• Cooling period. Step away for 48 hours. Fresh eyes save time.
• Line edit window. Focus on clarity, cadence, and consistency of voice. Track changes to keep a record of decisions.
• Proofreading last. Fix typos, punctuation, and formatting after all rewrites end.
• Version control. Rename files with date and stage, “Title_rev2_structure,” “Title_rev3_line.” Protect older versions so you can roll back a choice that goes sideways.

Simple timeline example

• Week 1 to 2, macro fixes, restructures, new beats.
• Week 3, meso, scene goals and outcomes, clean transitions.
• Week 4, line pass.
• Week 5, proofing, style sheet update.

Keep momentum with one rule

• End each session by writing your next three tasks. Short, high impact, tied to your top problems.

You do not need to solve everything today. Pick the lever with the most lift. Make one scene earn its place. Then the next. The plan builds itself through steady choices.

Quality Standards, Costs, and Red Flags

You want two things from an editor. Skill and honesty. Everything below helps you spot both.

Signs of a pro

Look for specifics, not vibes.

• Clear scope in writing. The editor explains focus on structure, character, stakes, pacing, POV, and genre promise. Grammar comes later.
• Genre fluency. They read and edit in your lane. They name comps without guessing.
• A sample. One of the following, a sample developmental edit on 5–10 pages, a sample letter from a past project, or annotated screenshots showing style of notes.
• References or testimonials with names and book titles.
• A contract with deliverables, deadlines, fee, refund policy, and follow-up terms.
• Tooling and method. Track Changes or PDF comments, a scene map or beat sheet, and a reasonable file naming system.
• Thoughtful intake. They ask for a synopsis, word count, target audience, and your goals. They ask where you feel stuck.

Quick gut check

• Read a sample note out loud. Does the tone sound direct and respectful. Do you feel smarter, not smaller.

Costs and pricing models

Developmental work is time heavy. Prices reflect depth, not page count alone.

Common models:

• Per-word. Often 2 to 8 cents per word for a full developmental edit, with follow-up included or priced separate.
• Flat fee. Often 1,500 to 6,000 dollars for novels in the 70k to 100k range. More for long or complex work, less for novellas or short nonfiction.
• Hourly with a cap. Acceptable only with a written estimate and a list of deliverables.

What drives price:

• Word count and scene count.
• Structural complexity, multiple timelines, large casts, braided arguments for nonfiction.
• Timeline. Rush work costs more.
• Scope. Full letter and annotations versus letter only.

What a quote should include:

• Deliverables listed in plain words, editorial letter, annotated manuscript, scene list or beat notes, follow-up call or Q&A window.
• Dates for start, delivery, and debrief.
• Terms for one round of sanity-check on new beats, if offered.
• Payment schedule, deposit, milestones, and final payment timing.

Simple example

• Your book, 85k words. Quote, 0.04 per word, total 3,400 dollars. Includes a 12–18 page letter, full annotations, a one-hour debrief, and a short second look at a revised outline. Delivery in four weeks from start. Deposit 30 percent.

Healthy communication

Good editors run a clear process. You should know what will happen next at every point.

• Discovery call. A short chat to confirm fit, scope, and goals. No pressure to sign on the spot.
• Response time norms, for example, emails answered within two business days.
• Debrief plan. A scheduled call to walk through priorities so you leave with a working revision plan.
• Boundaries. How many follow-up questions are included, by email or call, and for how long.
• Professional tone. Firm on scope, kind in delivery, curious about your vision.

Try this

• Before you hire, send three questions by email. Judge clarity, speed, and how they handle nuance.

Ethics you should expect

• Voice first. The editor protects your style. They propose changes which serve your story, not their taste.
• No promises of publication or representation. Results sit with the work and the market.
• Confidentiality. Your manuscript and ideas stay private. Many editors sign an NDA if requested.
• Transparency on limitations. If they do not work in your genre, they say so.
• No hidden upsells. If they also offer line edits or coaching, they separate scopes and prices.

Red flags

Walk away if you see these.

• “I guarantee bestseller status.” No one controls readers.
• Focus on grammar during a developmental pitch. Wrong stage of editing.
• Vague deliverables. “I will give feedback” with no letter length, no annotation plan, no follow-up.
• No contract. Or a contract with no dates, no scope, no refund terms.
• Open-ended hourly billing with no estimate and no cap.
• Pressure tactics. “Book today or lose your slot and discount.” Respectful pros allow time to decide.
• Genre blind spots. “I do every genre.” Few editors excel across all of them.
• Outsourcing without disclosure. You hired one person, not a hidden team.

Fit matters more than accolades

You are hiring taste and judgment, not a logo page.

Test for fit:

• Ask what they love in your genre right now. Listen for specifics, titles, authors, and why those books work.
• Ask how they define a strong midpoint. Their answer reveals method.
• Share a tough note you received before. Watch how they respond. You want empathy paired with clarity.
• Request a one-page sample letter tone check. Some editors are blunt, some more gentle. Pick the voice you will hear in your head for months.

Mini exercise

• Gather two sample letters from different editors. Highlight phrases that motivate you in green. Highlight phrases that shut you down in red. Choose the person with more green.

A quick checklist before you sign

• Scope, clear and in writing.
• Price, tied to deliverables, with a payment schedule.
• Timeline, start date, delivery date, and debrief.
• Follow-up, what is included, how long, by which channel.
• Evidence of genre fluency, comps and past clients in your lane.
• Contract, signed by both parties.

Good editing is a partnership. Pick someone whose notes raise your game, whose process keeps you steady, and whose ethics let you sleep at night.

Frequently Asked Questions

Download FREE ebook

Claim your free eBook today and join over 25,000 writers who have read and benefited from this ebook.

'It is probably one of the best books on writing I've read so far.' Miz Bent

Leave this empty

Get free book