You can find an abundance of editors in the directories of professional associations, in the acknowledgments in published books, on social media, and on websites such as Reedsy or Thumbtack. Talking to other writers and looking at testimonials and reviews can help you narrow down your choices, but just because an editor is a great fit for one author doesn’t mean they will be a great fit for you. So how do you find the right editor for you?
Specialties
Most editors specialize. A developmental editor may not offer copyediting and vice versa, and an editor may only work within certain genres or topics.
Type of Editing
The first thing to do is make sure the type of editing that is offered lines up with what your manuscript needs. If you don’t know what your manuscript needs, that’s okay. That can be the first conversation you have with a prospective editor.
But you’ll be a step ahead if you already have an idea of what type of editing you’re looking for. For example, it’s worth considering whether you need developmental editing before pursuing copyediting. See this post for more information on the different levels of editing. What will be most effective at helping you reach your goals?
If your manuscript needs a different type of editing than what an editor offers, a conscientious editor will recommend you go to someone else first and may even have recommendations on who to go to.
Type of Content
Make sure the editor works with your genre. An editor who works with and reads your genre knows the tropes, the clichés, and the reader expectations for that genre.
For example, my favorite genre is romance. Because I read it regularly, I can not only point out clichés but also point out issues that will lead to unhappy readers. For example, it is a bad idea to market a love story as a romance if it doesn’t have a happily ever after. A happily ever after is an expectation for that genre. A book can have a love story that doesn’t end happily, but it can’t be marketed as a romance because doing so will disappoint readers and lead to poor reviews.
Some other things to consider: Is there any type of content (cursing, explicit scenes, triggers, etc.) the editor doesn’t work with? Does their style and tone resonate with you? Are they easy to communicate with? Do you find the sample edit helpful? Are there any add-on services that you would find helpful? Maybe you’re not sure what your manuscript needs, so a low-pressure manuscript evaluation would be a good first step. Maybe you want someone who has experience working with self-published authors or has even gone through the process themselves. Maybe you struggle with blurb writing, so an editor who can also write your blurb would be helpful.
Qualifications
No editor is perfect, but how do you find one who knows what they’re doing? One who won’t steer you wrong or introduce errors.
Training
A degree related to editing (English, communication, creative writing, etc.) can provide a good foundation, but training is essential, whether that’s training from university programs, professional associations, or other editors. Having a foundational knowledge of English grammar is important, but so is knowing how to apply the guidelines in The Chicago Manual of Style.
Professional Memberships
Professional memberships provide opportunities for continuing education as well as the chance to network and problem-solve with other editors. Membership in at least one association shows that an editor is serious about staying up-to-date on industry standards. For example, with the new edition of CMOS coming out this month, the discussions and webinars offered by professional associations on the changes have been invaluable.
Policies
These include sample edits, payment methods, payment plans, and contract terms.
Samples
A sample edit is a must. You need to know what to expect. Any editor worth working with will offer a sample, whether for free or for a small fee.
Payment
This is a matter of compatibility. Invoices, credit cards, checks, PayPal—there are many options, and policies vary on payment methods and payment plans.
Contracts
Contracts protect both you and the editor. It’s better to know in advance what will happen if circumstances change for either of you. Read the entire contract, ask questions, and make sure you’re comfortable with the terms.
For more on how to get the most out of working with an editor, I recommend Hannah de Keijzer’s book, How to Enjoy Being Edited: A Practical Guide for Nonfiction Authors. It’s written for nonfiction authors but is relevant for fiction authors as well.