How to Choose the Right Freelance Book Editor for Your Project
- Michelle Meade
- 5 days ago
- 7 min read
Choosing a freelance book editor is one of the most important decisions you’ll make for your manuscript. The right editor will not only make your pages stronger, but also help you understand your story more clearly and move you closer to your publishing goals. The wrong fit can leave you confused, deflated, or out a significant amount of money with little to show for it.
I’ve worked with hundreds of writers over the years, and I see the same questions and worries come up again and again. So in this post, I’ll walk you through what actually matters when hiring an editor, what most blog posts gloss over, and how to evaluate whether someone is the right fit for your book—not just a “good editor” in general.
Step 1: Get Clear on What You Actually Need
Most authors start looking for “an editor” without being sure what kind of edit they need. That’s usually where frustration and mismatched expectations begin.
I recommend thinking about your manuscript in terms of its stage:
You’re still shaping the story → You likely need big-picture feedback, not line-level clean-up.
The story is solid, but the pages feel uneven → You may need line editing or a hybrid of structural and line work.
You’re about to publish or query → You’re closer to copyediting and proofreading.
Let’s dig into the various stages a bit.
Developmental / Structural Editing
Focus: Story, character arcs, pacing, structure, theme, point of view, world-building, internal logic.
Helpful when:
You’re not sure if the story “works” yet.
Beta readers say they’re confused, bored in places, or don’t connect to the characters.
You’ve revised on your own and need an expert view before querying or self-publishing.
What you should receive:
A detailed editorial letter (often 8–15+ pages) outlining what’s working, what isn’t, and why.
Concrete suggestions, examples, and possible solutions—not just “this isn’t working.”
Margin notes or comments that anchor the feedback to specific pages or scenes.
Line Editing
Focus: How the story is told on the sentence and paragraph level. Voice, rhythm, clarity, interiority, repetition, over-explaining, “telling vs showing,” and pacing within scenes.
Helpful when:
You know the story structure is solid.
You want the prose to feel more polished, consistent, and intentional.
You’re worried your voice feels flat, cluttered, or too wordy.
What you should receive:
In-line edits and comments tracked in the document.
Notes on patterns in your writing so you can improve, not just accept changes.
Copyediting
Focus: Grammar, punctuation, spelling, basic consistency (character names, timelines, small details), and house style.
Helpful when:
You’re happy with the story and sentences.
You’re preparing for publication (traditional or self-pub) and need a professional level of correctness.
Proofreading
Focus: Final typo hunt and formatting irregularities after layout or typesetting.
Helpful when:
You are done revising.
You’re looking at designed pages or a near-final file.
If you’re torn between two levels, describe your goals and concerns and ask potential editors what they’d recommend. A good editor will tell you when you’re not ready for a certain stage yet—and explain why.
Step 2: Evaluate Expertise Beyond “Years of Experience”
“X years of experience” isn’t enough information. You want to know what kind of experience an editor has and with what kind of books. This is where I encourage writers to dig a little deeper.
Look for:
Genre alignmentFor fiction, especially, your editor should read and work regularly in your genre (upmarket, SFF, romance, horror, etc.). A brilliant editor of business books is not automatically the right person for a speculative novel with a large cast and complex timeline.
Relevant track record
Have they worked with traditionally published authors, self-publishing authors, or both?
Do they have success stories aligned with your goals (agents, book deals, strong indie launches, awards, solid reader reviews)?
Type of projects
Do they regularly handle full-length novels, or mostly short stories and novellas?
Are they comfortable with the word count, structure, and complexity you’re bringing?
Instead of only asking, “How long have you been editing?” try questions like:
“What kinds of manuscripts do you feel you do your best work on?”
“Can you share a few recent projects similar to mine and what you focused on in those edits?”
You’re not just vetting competence. You’re checking for fit.
Step 3: Look Closely at Their Process and Communication Style
Many authors skip this step and end up frustrated not by the quality of the edit, but by how the process felt. In my own work, I’ve seen how much smoother projects run when everyone knows what to expect.
Key things to look for:
Intake process
Do they ask thoughtful questions about your goals, fears, and priorities, or do they send a price without any context? Thoughtful questions are often a sign of thoughtful edits.
Do they clearly outline what you’ll receive (edit letter, in-line comments, Zoom call, follow-up email support) and when?
Communication style
Do their emails feel clear and grounded?
Do they explain things plainly or lean on vague buzzwords?
Do they sound like someone you could handle difficult feedback from?
Useful questions to ask:
“What does your edit include, specifically?”
“How do you deliver feedback?”
“What kind of support, if any, do you offer after I receive the edit?”
You want an editor who is direct, specific, and respectful. They should neither sugar-coat everything nor tear you down.
Step 4: Understand Pricing, Cost, and “How Much Editors Make”
Many writers search, “How much money do book editors make?” when what they really want to know is, “How much should I expect to pay, and what am I paying for?”
Here are a few realities I walk writers through when we talk about pricing:
Rates vary for good reasons. An editor’s fee reflects not just the hours spent on your manuscript, but also:
Their training and background (in-house, agency, publishing, academic, etc.).
The depth of work (a thorough developmental edit takes significant cognitive load and time).
The level of support included (calls, follow-up, extra rounds).
Editing is slow, focused work. A careful developmental edit of a novel is not something that can be done well in a weekend. If a quote seems too good to be true for the amount of work promised, it probably is.
Common pricing models:
Per word
Flat fee per project
Hourly (less common for full manuscripts, more for coaching or consultation)
When comparing quotes, ask:
“What exactly is included for this price?”
“How many passes will you do?”
“Is there any follow-up support if I have questions after I’ve read the edit letter?”
Rather than focusing on what editors earn (which varies widely), focus on whether the editor’s pricing, process, and experience align with the depth of help you’re looking for—and with how seriously you want to take this book.
Step 5: Protect Yourself With Clear Terms
A professional editor should be comfortable putting the terms of your collaboration in writing, through a formal contract or a detailed written agreement.
Make sure you understand:
Scope of work (type of edit, full manuscript vs partial, word count).
Timeline and delivery dates.
Payment structure (deposit, milestones, final payment).
What happens if either of you needs to reschedule.
Confidentiality expectations.
What is not included (additional rounds, marketing support, etc.).
If anything feels unclear, ask for clarification before you send payment. I would much rather a writer ask one more question than sign on feeling uncertain.
Step 6: Make the Most of the Collaboration
Once you’ve hired someone you trust, there are ways to get more value from the edit. This is where I see a big difference between writers who get a “report” and writers who get a genuine transformation of their work.
Before you send your manuscript:
Clean up obvious issues where you can. You don’t need perfection, but you don’t want to pay developmental rates for sections you already know you’re going to cut.
Provide a brief overview of your story, your goals (traditional vs self-publishing), and your biggest worries about the manuscript. This context is incredibly useful on my side of the desk.
When you receive the edit:
Give yourself time to read the feedback once without reacting. Step away. Then read it again, taking notes.
Look for patterns in the feedback instead of treating every comment as equal.
Ask questions where you need clarification. Good editors welcome thoughtful follow-up.
Remember: you don’t have to accept every suggestion. A strong edit is a conversation. Your job is to weigh the feedback against your vision for the book and make deliberate choices.
Red Flags to Watch For
Unfortunately, I’ve seen a lot of people offering editorial services who are not qualified to be charging for this type of work. Here are some warning signs I suggest writers pay attention to:
Guaranteed outcomes (“I’ll get you an agent” or “This will be a bestseller”). No one can promise that.
Reluctance to share a sample of their work (for Line Edits, Copyedits, Proofreading) or to explain their process.
Lack of proper training and experience (being a “big reader” or even a writer themselves doesn’t automatically give someone the skills and expertise to properly and effectively edit fiction).
Vague testimonials with no concrete results or book titles.
Inconsistent communication before you’ve even signed on (significant delays with no explanation, one-line replies that don’t answer your questions).
A contract that leaves major details unspecified.
You deserve an editor who treats your manuscript and your time with care.
Final Thoughts
Choosing the right freelance book editor is less about finding the “best” editor in a general sense and more about finding the editor who is best for your story, genre, goals, and working style.
If you:
Know what kind of edit you need (or are open to a professional recommendation).
Take the time to review samples and ask targeted questions.
Pay attention to how the editor communicates and how their feedback makes you feel.
…you’ll be in a strong position to choose a partner who can help you move your book from early potential to a manuscript that’s genuinely ready for readers.
If you’re unsure where your project falls or what kind of edit would serve you best, starting with a short consultation can be a low-pressure way to get clarity before you make a larger investment. It’s something I recommend often—and something I offer in my own practice for exactly this reason.
