Your editor is more than a nameless someone who checks your work. The qualities you’d like to consider to find and hire an editor may be entirely different from the things your critique partner looks for.
Maybe you need help shoring up the soft spots in your story. Maybe you need a coach to keep you moving forward each month and get your manuscript over the finish line. Perhaps you’re seeking turnkey project management for a self-published title.
Once you identified someone who offers the right services, it’s time to look for a comfortable fit. Are you looking for someone who can reliably pick up an edit on the fly, or are you hoping to find the perfect someone who’ll become a valued member of your publishing team?
Here’s how to find and hire a qualified professional editor for your novel.
“Great advice from @LisaPoisso”—Jane Friedman
- Do you really need professional editing?
- How to tell what services you need
- Is your manuscript ready for editing?
- Where to find an editor
- How to find an editor with professional qualifications
- How to find an editor who “gets” your writing
- What to tell a prospective editor about your book
- Do you need a sample edit?
- How far ahead to schedule your edit
- How much fiction editing costs
- Methods to lower your editing budget
Do you really need professional editing?
If you’ll be querying agents and publishers, polish is becoming more important than ever. Some agents and publishers no longer consider naive, amateurish submissions when so many come in well beyond that stage. But developmental editing and line editing—anything deeper than basic copyediting—are no longer a given in traditional publishing. If you want these things for your book, the only way to guarantee you’ll get them is to hire them for yourself before you submit to an agent or publisher.
If you’ll be self-publishing, your customers expect a quality story in a thoroughly professional presentation. They won’t think your obvious budget cover is charming; this is a professional product you’re selling for real money.
Even more important is the quality of the story and writing inside your book—and how will you know if you’ve achieved professional quality unless you hire a professional editor? If you wouldn’t want a publishing house to release your book with copyediting from a student or from someone who got As in English ten or twenty years ago, you shouldn’t expect to scrape by with the same as a self-publisher.
How to tell what services you need
While it behooves you to understand the types of editing and what each is designed to accomplish, your editor should evaluate and help you understand what type of editing your manuscript needs and why. A prospective editor should ask to see your manuscript—often the entire manuscript, especially if you are seeking developmental editing or a critique—and ask plenty of questions about your work.
Unfortunately, there’s no definitive industry-wide standard for what different types of editing are called. What’s copyediting to one editor might be line editing to another. The important thing is that your potential editor defines and specifies the services you’ll receive. If your conversation with the editor doesn’t include any details about exactly what you’ll get, you’d probably be wise to continue your search elsewhere.
An ethical editor will refer manuscripts to colleagues for services or specialties they don’t provide, recommend additional revision or development for manuscripts that need additional work, and turn down edits for manuscripts that aren’t ready for editing. An editor should help you understand your individual editing priorities, based on your own manuscript and whether you’re planning to self-publish your novel or be published by a traditional publisher.
Is your manuscript ready for editing?
Nobody wants to spend time, money, and effort on a manuscript that’s not ready for prime time. Hiring an editor is not a fast-track solution to speeding through the tough stuff. Early revisions are an author’s responsibility.
Hiring an editor is not a fast-track solution to speeding through the tough stuff.
The first thing you should do to prepare for editing is to thoroughly revise and critique your manuscript. Most successful authors I work with go through at least three drafts before they consider their work ready for the intermediate steps of workshopping, critiques, or beta reading. Those processes spawn still more revisions. Please don’t send an editor a draft of your work that hasn’t been through that level of scrutiny. Producing a polished book takes work, and it takes time.
Read more: How many drafts are enough for your novel?
Read more: The editing and revision process for self-publishers This is the process many of my clients follow.
One thing you can do to speed the process along is to start lining up an editor a few months before you think you’ll be completely finished with your revisions. If an editor has an established client list, their schedule can fill months in advance. If you wait to choose an editor based on who has immediate availability, you could get lucky, but you could also lock yourself out from editors whose services are in demand.
Read more: How far ahead should you schedule your edit?
Where to find an editor
Anyone can hang out a shingle as a fiction editor, so due diligence in sorting out the pretenders is up to you. Even so, finding an editor shouldn’t leave you feeling as if you were dangling from a plank over a sea of unknown terrors.
New authors sometimes ask why they can’t simply have their book edited by a bevy of beta readers, a friend who’s a freelance writer, or a retired English teacher who moonlights as an editor. You could—but you wouldn’t be getting the same depth of experience and editorial standards that you’d get from a full-time professional.
Someone who’s not a professional editor won’t even be aware of the things about editing they don’t know.
Your helper may be great at grammar and spelling, but professional editors spend every day neck-deep in the intricacies of language. They’re completely immersed in emerging style and usage trends, genre conventions and trends, e-publishing processes and standards, book marketing and sales news, changing fiction conventions, typographical issues, and more. Someone who’s not a professional editor—even an established author—won’t even be aware of the things about editing fiction that they don’t know.
To find a professional editor, look in places where full-time professionals list their services. Professional associations offer directories where you can search for someone who fits your needs and job boards where you can post a free listing for the type of editor you’re looking for.
Yes, you could luck out and find a talented editor who’s just starting out on Facebook or Goodreads. You might discover someone on a service like Fiverr or Reedsy. But choosing an editor with a professional membership gives you at least some assurance of exposure to professional training, standards, and business practices, and working with an editor directly rather than through a booking service means no middleman upcharging the service or hijacking communications between you and your editor.
- Editorial Freelancers Association (United States)
- ACES – The Society for Editing (United States)
- The Institute of Professional Editors Limited (Australia and New Zealand)
- Editors Canada (Canada)
- Association of Freelance Editors & Indexers of Ireland (Ireland)
- Chartered Institute of Editing and Proofreading (United Kingdom)
Read more: Best places to find a professional editor
How to find an editor with professional qualifications
To build your short list of candidates, look for editors with training and experience. Few professional certifications or training programs exist for editors, and standards vary widely. Some excellent editors may not have directly related training or backgrounds.
Unless you have a personal recommendation, you’ll want to use higher education, certifications, and experience to help you sniff out the baseline qualifications.
- Does the editor have a college degree in English, journalism, or a related field, or have they earned an editing certificate? Have they undertaken recent continuing education in their field?
- Do they belong to any professional organizations? Do they hold any certifications, or have they attended conferences or continuing education courses from professional groups?
- Are they active with professional discussion groups online to consult with other editors and keep up with current trends and issues?
- Can you find a website or LinkedIn profile showing their qualifications? Are their listings professional, well written, and error-free?
You may wonder if it’s important to find an editor with experience working for a publishing house. This is often a case of comparing apples to oranges. Freelance copyeditors who work with publishing houses edit under specific guidelines and constraints. They’re almost guaranteed to be seasoned, top-notch copyeditors, but they may not have experience helping authors get under the hood with line editing or developmental editing. Look for editors who do what you need, not editors who do what a publishing house needs.
It’s also important to know what types of editing and genres an editor specializes in. Most editors can do a respectable job with many types of projects. But your epic fantasy is probably better off in the hands of an editor who’ll recognize when your one of your monsters encroaches on intellectual property from Dungeons & Dragons, and your middle-grade fiction could use an editor who can help you recognize what keeps a not-quite-dedicated reader turning pages. Ask prospective editors about their specialties and what they enjoy editing and reading themselves.
How to find an editor who “gets” your writing
You deserve an editor who gets you, who gets your work, and who lifts up what makes your novel distinctive so readers can appreciate it too.
How can you make that alchemical connection with someone who gets you and your writing at an intuitive level?
Your editor is more than a nameless someone who “checks your work.” Whether writing is your or a tolerable way of making some money, you deserve to find an editor who connects with what you’re all about. You deserve an editor who gets you, gets your work, and lifts up the things that make your novel distinctive so readers can appreciate them, too.
Do you want a particular service? Complete editorial development? Turnkey project management? Are you looking for someone who can reliably handle your project on the fly, or are you looking for someone who’ll become a valued member of your publishing team? All of these things are important when you’re hiring a creative service.
Most author/editor relationships evolve and become more casual and friendly over time, but you can find ways to get a feel for an editor’s working style before you commit. Your first clue is the tone of their website and emails, but those communications tend to be more formal in the early stages of a prospective business relationship, anyway.
Personal referrals are an excellent tool for finding the right editor. Ask around in writing workshops and critique groups, and bend the power of social media to find out who other authors have used. Referrals can help you identify editors with communication styles and personalities likely to click with yours.
My advice: Before you hire an editor, visit their social media feeds. Twitter and Facebook and Instagram can tell you a lot about a person’s demeanor as well as their interests outside of business. Look for an editor who sounds like somebody you’d be comfortable chatting with over coffee—because that’s what you’ll end up doing virtually during the editing process.
Read more: Find a compatible editor who fits your style
What does hiring the right editor look like from the author’s perspective?
What to tell a prospective editor about your book
Your inquiry is your chance to set the tone for a business and creative relationship.
Your first inquiry to a prospective editor sets the tone for your business and creative relationship. Give them the kind of details about your book and publishing goals that will help them decide whether your manuscript will be a good fit with what they do.
- Total word count (or page count, using the industry standard of 250 words per page)
- Genre and current competing titles you would expect your readers to be reading now
- Revision status (How many drafts have you completed? Who else has read your manuscript—critique group members, beta readers, your mom …?)
- The type of help you’re looking for (help with plot arc and characterization, polishing for flow and language, correction of grammar and spelling, and so on)
- Your overall editing goals (to make the story flow more smoothly, to polish the writing, to check the grammar and spelling, etc.)
- Your overall publishing goals (to submit to an agent or major publishing house, to launch a self-publishing career, to share and preserve your family story, etc.)
Even if you’ve never used an editor or been published, your inquiry is your chance to show that you’ve done your homework. Why would an editor want to schedule your book? This is your shot at showing that your manuscript is clean and prepared, that you’ve already begun studying who your readers might be and how your book will feed their interests, and that you have a clear idea of what you want to achieve from editing.
Do you need a sample edit?
A sample edit is one of the best ways to determine if a prospective editor will be a good fit for your writing. Because the process of editing requires a certain shared sensibility between an author and editor, many fiction editors provide a brief sample edit for prospective clients. This works for copyediting and line editing, but it’s difficult to evaluate things like plot, pacing, or characterization without reading the entire manuscript—not very practical for a sample or quote.
Because my edits begin at the story level, I prefer to start off with one-on-one story coaching, which serves as an affordable, low-risk introduction to my approach and work style while sending authors off with invaluable storytelling tools and techniques they’ll use the rest of their writing careers. (The service is called a Plot Accelerator, if you’re interested in taking a sniff.)
Even my quote package includes enough feedback that you’ll get an idea of what the editing process looks like, how your story will read after editing, and the tone and approach I use in my feedback and suggestions. And at a time when you may be feeling overwhelmed by revisions, you’ll be uplifted at seeing how a skilled editor can transform your manuscript into something that reads as if it had come straight from your hand but stronger, smoother, and better than ever.
Read more: How to evaluate a sample edit
How far ahead to schedule your edit
Six months before your edit would not be too soon to begin lining up an editor you’d love to work with.
It takes time to identify, screen, and select an editor who’ll be a good fit for you and your manuscript. While you could luck out and find an editor who has an unexpected scheduling lull—it happens to all of us—experienced editors tend to have built up a demanding roster of clients and referrals and are likely to be booked months in advance.
High demand doesn’t mean you can’t use or afford these editors too, but it does mean you’ll have to plan ahead. Six months before your edit would not be too soon to begin lining up an editor you’d love to work with. Bonus: There’s nothing like a looming editing deadline to motivate you to whiz through your last round of revisions.
Read more: Plan your editing schedule
How much fiction editing costs
Many editors who work with other types of editing than fiction charge more than editors who work strictly with self-publishers. The rates provided by the Editorial Freelancers Association rate chart include data based on slower, more technically demanding types of editing than the typical novel. Then again, I’m a fervent advocate for learning to do things the right way when you’re starting out.
Many self-publishers keep a stiffer cap on their editing budgets once they get things rolling. You can get a good feel for a realistic indie publishing budget based on this article at Reedsy. I don’t recommend dipping much lower than these rates in search of a good deal. You’ll find much cheaper rates from editors at places like GoodReads and Fiverr—but remember, you get what you pay for. Make sure you’re not hiring a glorified spellchecker. If you want professional quality, look for someone who’s a professional—that is, someone who makes a living at editing.
Common sense goes a long way toward matching rates with an appropriate level of service. Ask your prospective editor how many hours they estimate spending on your manuscript. Could you support yourself on a month’s worth of work at those rates? If not, you’re probably looking at someone who offers services on the side, and the time and resources at their disposal may not match those of a full-time professional. You get what you pay for.
Methods to lower your editing budget
If you could only afford one round of editing, should it be developmental editing or copy editing? Developmental (story) editing ensures that your story is strong and vital. Copy editing (or line editing) crosses all the t’s and dots all the i’s. Successful commercial fiction needs both, but you may find yourself with the budget for only one or the other.
Even the dullest story can be copy edited into a beautifully polished volume—but will readers keep turning the pages? A compelling plot sells more books than correct commas every time. On the other hand, a look at the Amazon reviews of any title reveals angry readers who simply can’t get past glaring errors and quality issues. A hot, unedited mess turns readers off before they’ve had a chance to be captivated by your fantastic story line.
Read the full article: 10 ways to save money on editing
It’s the things you don’t know about editing—all types of editing, not just the kind that catches typos—that can hurt your book. In the old days, traditionally published books received rigorous shaping and developmental editing by agents and publishers, then traveled through a system of copyediting and proofreading before ever reaching print. When you self-publish your book, you take on the responsibility of managing all these processes yourself. Discerning readers will notice if you choose to skip steps along the way.
Understanding what kind of editing you need starts with understanding your publishing goals. Are you a hobbyist or an aspiring pro? If you’re self-publishing because you’ve always wanted to see that pet idea in print, your editing needs to meet different standards than if you’re hoping to attract the attention of an agent or publisher.
More on your quest to find an editor
Know what you’re buying. Find out what’s included in an editor’s services. How many rounds of editing does your agreement include? Do they integrate the changes into the document, or do you? Will they create a style sheet for your project?
Know how long editing takes. Most professional editors spend between four to six hours a day with eyes on your manuscript. Content editing averages one to five pages per hour (at the industry standard of 250 words per page), while light copyediting can breeze along as quickly as five to ten pages per hour. Some editors focus on one project at a time, and others prefer to keep a fresh eye by taking on overlapping edits.
All of this takes time. Even a “fast” copyedit typically takes a couple of weeks, and you should anticipate a month or more for developmental editing—anything related to the plot or characters. If a prospective editor tells you they can turn your manuscript around in a matter of days, it’s probably smart to question how deep they’re delving and how much value you’re getting from such a quick skim.
Get it in writing. Protect yourself with a contract or email letter of agreement outlining what services you’ll receive, how much your edit will cost, when payments are due, and deadlines for sending and receiving the manuscript.
Ready to find an editor for your book? That editor could be me. Do you need help developing your story? A seasoned editor to polish your writing? A coach to help you sort out your ideas and see the big picture?