Within my various writing groups (mainly online), it's not surprising that I encounter a variety of interactions about finding an editor. While some know that I'm an editor too and not just a writer, when I take part in these conversations, it is only to pass on my knowledge and experience about the things that writers should ask when seeking to hire a freelance editor.

The questions below are general. You might not need to ask every question, but getting the answers before you work with an editor will help to go a long way in forging a healthy working relationship with your editor.

In fact, these questions can apply to any freelancer that you might hire to be part of your team, be they a cover designer, book formatter, publicist, and, to a lesser extent, an agent. (Yes, an agent is technically a freelancer too.)

Within this post, when possible, I have also included my answers (as the editor).

I apologize in advance for the long post (it's well over 3000 words), but this was one topic that I didn't want to divide up into smaller posts.

Learning about the editor

1) Does the editor edit your genre? Will they work with the subject matter in your manuscript?

Editors develop specialties, focusing on certain genres. Different genres have certain tropes and expectations associated with them, and editors who don't work in your particular genre or sub-genre might not be familiar with the specific quirks.

But some editors also have no-go topics. They tend to be topics associated with violence against women, children, or animals—a common no-go topic. But I know of one editor who won't work on stories that revolve around cancer. I know another editor who won't look at stories involving guns. And another editor won't work with on-screen sex scenes. (One extreme to the other.)

When engaging the services of an editor, it is important to be open and honest not only about the genre and overall plot, but any subject matter that might be make a person uncomfortable. (And what would make you uncomfortable isn't necessarily what would make another person uncomfortable.)

My genre preferences

I edit thrillers of all ilk. But I also work with science fiction and fantasy. I enjoy crime fiction, and horror gets me smiling as long as you can scare the heebie-geebies out of me.

I don't edit category romance, but if you wrote a romantic suspense or a paranormal romance, send it my way.

And I don't have any no-go topics. As long as the event is important to the story, then bring it on. However, I would like to know if a manuscript has an erotic sex scene, so I can avoid being in a public coffee shop while reading that scene. (Yeah, it happened to me once, and I was a little self-conscious about it. But I loved working on that manuscript.)

2) Do they offer the types of editing that you're seeking?

Many writers (and editors) use the term editing to mean different things. To complicate matters, many writers are not fully aware of the different types of editing out there.

For a general post about the stages of editing, one that explains what the different editing types are (as I define them), read The Stages of Editing.

Please remember that it's not the job of a developmental editor to fix any typos. They might highlight them if they see them, but they're not under any obligation to do so. That's not the type of editing they offer.

And a proofreader won't offer commentary on characterization or setting. Their job is to find the typos, spelling errors, or punctuation mistakes that were missed (or introduced during typesetting).

If you have any particular concerns with craft or content, ensure that you tell your editor this beforehand.

The services I offer

I am a developmental editor and writing coach. While I'm capable of copyediting and proofreading, I don't offer these services to new clients.

3) Are they comfortable with your manuscript length?

The length of your manuscript impacts on the overall cost of editing (impacting on the time that it will take the editor to do the job). But some editors won't work with manuscripts under or above a certain word count.

Those writing flash fiction (works under 1000 words) will want to employ the services of an editor who is used to that type of fiction. There are certain quirks that exist in flash fiction that are unique to flash fiction.

But some editors also won't work with epic length novels (180,000 words or longer). While many science fiction and fantasy novels can clock in that high, works written by newer writers are often filled with significant developmental issues.

My limitations on word counts

While I will work with short stories, I charge based on a minimum of 5,000 words. And I won't take on flash fiction. There is a poetic, literary nature to flash fiction that I just don't understand.

Saying that, there is no upper limit to the length of a manuscript that I will work with.

As a developmental editor, it is my job to help writers refine their plots and shape their stories in such a way that it works for the reader. If a manuscript is of epic length, I will be hunting out passages that could be cut, bringing it down to ideal word counts for the genre. But the opposite is true too. If a manuscript is too short (based on the ideal for the genre), then I'm hunting out areas that could be expanded on.

4) What is their expertise? Who have they edited? What is their background in publishing?

You want to make sure that you know exactly who it is you're hiring. You're paying good money for their services.

If the editor that you're looking at has considerable experience and has connections with publishing houses and agents, then expect to be paying the big bucks. For those who are newer on the block, their rates should reflect that (but they also deserve to be earing a living wage, so please don't demean their efforts).

Check the bios listed on their websites. See if they are a member of a professional body for editors. If they have a portfolio of client work, then check out the books they have worked on. And feel free to ask if you can speak to any of their previous clients.

At this point in the process, you are looking for anything that sets off alarm bells.

My experience and expertise

I have been working as a developmental editor since 2015. In that time, I have worked primarily with newer writers who are still developing their craft. A few of them have published, but not many.

I gained a Certificate in Editing and Proofreading in 2016 and became a professional member of the Institute of Professional Editors Ltd (IPEd) in 2018 (meaning that I was judged by a panel of my peers and found to be acceptable to join their ranks). I am also a member of the Editorial Freelancers Association.

While I do maintain a list of testimonials from previous clients, if you would like to talk to one of my other clients directly, that can certainly be arranged. Just ask.

5) What is their editorial process like? How many rounds of editing will there be? How long will it take?

Every editor works differently, so it's important to understand what approach your editor will take with your work.

Also inquire about any editing software they might employ. Copyeditors often use editing software to help identify the things they might have missed on a visual inspection, and some software is better than others.

My process

I recently posted a blog post that discusses my editorial process, which always includes an initial read through on paper and that trusty red pen in hand (now done using a Remarkable tablet). But what I do with my notes will depend on the contract.

And if I feel that a manuscript is moving out of the developmental editing phase, getting ready to move into copyediting, then I will pull out ProWritingAid for some sections. However, I don't do this with every manuscript.

As for the time it takes to edit… Well, it depends on your manuscript. As a rough guideline, I allot 1 week for every 25,000 words in the manuscript, rounding up. So, a manuscript that is 40,000 words is typically given 2 weeks, but so too is a 50,000-word manuscript. A 100,000-word manuscript is given 4 weeks, but a 120,000-word manuscript is given 5 weeks.

This, of course, is also dependent on what else might be going on in my personal life.

6) What's their procedure for incompatibility? What happens if they decide your project isn't right for them after all? Do they refund the deposit, or will they do a partial edit to cover the deposit amount?

It happens. An editor takes on a project, then they get the materials and discover that there is something in the manuscript that they were not prepared for. More often than not, it was a copyeditor taking on a project that really needed to a developmental edit.

When this happens, you need to know what the procedure is.

My procedure for incompatibility

I have had this happen to me only once in my entire editing career, and that was in the days prior to me asking to see samples from all new clients. In that instance, I refunded the client's money in full.

Ever since I started asking to see samples from new clients, I've been able to identify those who I won't be able to help (or am not compatible with) before any money changes hands.

7) What is their preferred method of communication? How long does it take them to respond to emails?

The number of stories that I've heard about writers being ghosted by their editors freaks me out. I feel the writer's pain. But editors have our horror stories on the communication front too.

You don't want to be the needy client who is constantly contacting an editor at every turn, but you also want to know that if you have a question you'll get an answer in a reasonable time.

Communication is the key to every professional (and personal) relationship.

My communication policies

Because I'm in New Zealand, I prefer to communicate via email. It really is the easiest way to get hold of me. And I do my best to respond with 24–48 hours.

I'll happily answer general questions via social media. However, if you are seeking quotes for services, I will ask that we move to email communications. This gives us a paper trail of what was said from both parties.

The business operations

And this is the perfect place to move into the questions that start talking about money.

8) What are their rates?

When hiring an editor, the conversation will eventually turn to money. You need to know exactly what it is that you're budgeting for.

My rates

My rates are not an easy thing to describe, because it's not something that is based purely on an hourly rate or on word counts. It's based on experience and known times that it takes me for certain tasks. And different services are charged at different rates.

Saying that, when I quote for editing services, I provide a fixed-rate quote for a given project. You won't have any hidden surprise of the financial kind at the end.

Mentoring and coaching clients are typically charged at an hourly rate. (Please contact me for more details if you are interested in these services.)

9) Do they offer a free or paid sample edit?

I've talked about the issues surrounding sample edits before, and different editors have different policies regarding sample edits.

My policy regarding sample edit

I do not offer free sample edits. While I do insist on seeing a sample of your writing for new clients, that sample is not edited in any way. It is so I can assess whether my particular skill set would be of use to you.

If you like to know more about my approach to sample edits, I detail it in Sample edits are at the editor's discretion.

10) Do they require a deposit? How do they accept payment? Do they require full payment before sending you edits? Do you need to sign a contract?

It's all money. You need to know when you'll be expected to pay what. Simple as that.

Some editors will insist that you sign a contract, which should detail the payment schedule and what the deliverables will be (including when you can expect your edits back). But if you don't sign a contact, ensure that you have ALL of this information clearly spelled out at least in an email communication.

Do NOT rely on social media direct messaging for this. You NEED a written paper trail (or digital trail via email) of what has been said.

My policies

I ask for a 10% nonrefundable deposit to secure editorial slots. These slots could be months in advance. I also ask for the remainder of the payment prior to the commencement of work. It's a fixed rate for the project (set at the time the deposits are paid), so there won't be any hidden financial surprises at the end. Dates for returned edits are given when I received payment and the manuscript. (I can't edit anything without the manuscript.)

I don't have clients sign contracts. It comes down to the fact that I'm in New Zealand and most of my clients are international. Contracts are only useful for when things go wrong and you need to go to court. That's not going to do me any good when my clients are overseas.

However, I do clearly list my terms and conditions on my website. I have also included a downloadable PDF version of my terms and conditions (complete with date of last review), so clients can have a record of everything. By paying deposits, it is assumed that you agree to the terms and conditions.

11) When are they booking for?

Editors book anywhere from weeks to months in advance. In some cases, editors book up a year in advance. Some might slot in smaller jobs here and there, filling in the gaps between the larger jobs.

Plan accordingly.

My calendar

As of February 2024, I am scheduling editorial contracts for May 2024. Yep, you read that right. I typically book editorial contracts months in advance.

However, mentoring and coaching clients are able to get sessions with me at times that are suitable for them, scheduled a week in advance. This could include oral feedback on your latest piece of writing, or that sounding board as you work through an idea.

12) What is the editor's policy on missed deadlines, refunds, etc.? Will they reschedule if you're late delivering your manuscript? What if they're late returning the document to you?

If you had to sign a contract, all of this information should be in that contract. If no contracts were involved, then your editor should have their terms and conditions listed on their website. Regardless, if you have questions regarding this, then ask.

Communication is the key.

My policy

My policy regarding refunds and rescheduling can be found in my terms and conditions.

It all comes down to open communication. Things happen. If you need to reschedule, the sooner I know, the sooner I can make the changes in the schedule.

As for being late in returning documents to you… Again, it's about open communication. If I can foresee an issue, I will let you know as soon as possible. At that point, we will discuss the options.

13) How will they provide feedback?

Some editors write an editorial letter, while others offer feedback directly in the manuscript using comments. Some editors do both. And some editors provide oral feedback only (though this last group is a rare breed.)

Be sure you know exactly how you will be given feedback.

My methodology

My editorial clients will receive an editorial letter, highlighting key issues and generalized editing, as well as an annotated file using the Track Changes feature in MS Word. I also provide a PDF version of the manuscript that shows the comments expanded. This is because recent changes to MS Word have hidden some of the comments. (Editors everywhere are complaining bitterly about how Office365 handles comments.)

Mentoring and coaching clients will be provided with verbal feedback during our Zoom sessions.

14) Post-editing support? Will they provide some level of support after you get your edits back so you can ask questions and seek clarification?

Above we spoke about preferred methods of communication and response times, but it is also important to know if you'll be able to ask questions and seek clarification after the edits are back. There is nothing worse than paying money for an editorial report that you don't understand.

Most editors are more than happy to answer your questions, clarifying any suggestions that they've made, but they will have a preference for how those questions are handled.

My post-editing support practices

All my editing clients are offered a one-off mentoring session where we can chat over Zoom about any questions you might have. I view it as part of my job to ensure that you understand why the particular edits were suggested, even if you don't agree with them. So, I will do whatever is needed to support you while you digest the editorial feedback.

I also encourage clients to send quick questions via email. Depending on how long ago your edits were, I might have to look back over my files, but most questions I'm able to easily answer.

Problem solving

15) What should you do if you are going to miss your deadline with your editor?

As I've mentioned above, communication is the key. The moment that you have any hint that the deadline is going to be a problem, talk to your editor. They might have a solution that you didn't think of.

16) What should you do if your editor is MIA (missing in action)?

This is a hard one, because it's scary for me to know that this happens. And it's worse when money has already changed hands.

If this happens to you, do the best you can to track down the editor who has your money (even via social media), but at the same time, work to stop the money transfers if you can.

This is never an easy situation to be in, and it will probably taint your impressions of editors. But trust me, not all editors are like this.

Communication is key!

17) What if the edits aren't what you hoped?

First step in this one is to review your expectations. Did they deliver what they told you they would deliver? Not what you think they would do, but what they actually said they would do?

If your editor delivered what they said they would, then the only thing that you can do is not hire their services again—and not recommend them to others.

If they didn't deliver what they said they would, then you're in the same boat as those working with editors who are MIA. Go back to your communications and contracts. Hopefully, there is a path forward in all of that paperwork.

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Finding the right editor is not as simple as just reaching out to any random editor and saying "You'll do." You need to do your homework, just like everything else in this industry.