How To Hire An Editor In 10 Simple Steps

Hiring an editor can feel like a lot—mostly because there are so many kinds of editing, and it’s hard to know what you actually need until you’re already in trouble. I’ve been there. You want the book to sound right, read smoothly, and not embarrass you later… but where do you even start?

Here’s the part that makes it easier: if you follow a straightforward process, you’ll end up with an editor who matches your project and your expectations. And honestly, that makes the whole experience way less stressful.

Below, I’m sharing my 10 simple steps for hiring an editor (with the exact details I look for when I’m hiring or recommending someone).

Step 1: Decide What Type of Editor You Need

Before you hire anyone, get clear on the kind of editing you actually need. This one decision can save you real money. If you pay for proofreading when you really need developmental edits, you’ll still have the same plot holes. And if you pay for developmental editing when you just need a final polish, you may waste budget on changes you didn’t need.

Here’s how I break it down by project stage:

• Developmental editing: When your manuscript is still forming—structure, pacing, plot, themes, character arcs. Developmental editors focus on the big picture. For example, if you’re working on a horror story plot, a developmental editor might flag where tension drops, where scares feel “random,” or where the protagonist’s motivations don’t line up with the story’s escalation.
• Line editing and copy editing: When the story is basically there, but the sentences need work. Copy/line editors fix grammar, spelling, clarity, consistency, and flow. If you’re aiming for a clean self-published book or a professional-facing document, this is usually the stage where readers start noticing “quality” instead of “potential.”
• Proofreading: The final pass. Proofreaders catch the tiny stuff—typos, punctuation glitches, spacing issues, inconsistent formatting. I usually treat proofreading as the last step after all other edits, because it’s hard to proofread your way out of a weak chapter.

One practical tip: decide what “done” means. If you’re unsure, ask potential editors what they recommend after a quick look. Many will tell you whether you need developmental vs. copy/line vs. proofreading (and if they don’t, that’s a red flag to me).

Step 2: Set Clear Requirements for the Editing Job

Now it’s time to get specific. I like to think of this as writing your “editing brief.” Without it, you’ll get mismatched bids, vague schedules, and revisions that don’t feel aligned.

Start with a simple checklist of requirements:

• Qualifications and experience: Are you looking for someone who edits fiction, nonfiction, academic, or technical work? If you’re writing for kids, find someone who understands the rhythm and expectations of children’s books. It helps a lot if they know how children’s books are created—not just general editing.
• Budget limitations: Editors price differently: hourly, per-word, or per-project. As a reference point, median annual salaries for editors around 2023 were roughly $75,020 (not a direct rate card, but it gives you a ballpark for what professional work costs). Then choose your budget range and be honest about it.
• Deadlines: When do you need the edits back? If you need a full pass by a hard date, say that. Good editors are busy for a reason, but they should still be able to tell you whether they can realistically meet your timeline.
• Editing approach and style: Some editors are blunt (but effective). Others are more gentle and encouraging. Neither is “wrong,” but your communication style matters. If you hate receiving direct notes, don’t hire someone who writes feedback like a courtroom transcript.
• Deliverables: Will you get tracked changes, comments in a document, a style sheet, or a summary report? This is one of those details that people forget—and then everyone’s surprised later.

If you can, include manuscript length and format too (Word doc? Google Docs? PDF?). Those small details affect timelines and pricing.

Step 3: Write a Clear Job Ad for the Editor

Once your requirements are solid, your job ad should be clear and scannable. You want qualified editors to see themselves in it. At the same time, you don’t need to write a 3-page novel about your book.

Here’s what I’d include in a strong editor job description:

1. Start with the basics: Role and type. Examples: “Freelance Developmental Editor for YA Fantasy Novel” or “Copyeditor Needed for Tech Blog Series.”
2. Scope of the job: Manuscript length (word count), genre, and what you want edited (developmental, line/copy, proofreading). If you know your target style guide (Chicago, APA, etc.), mention it.
3. Experience level: Are you open to newer editors with lower rates, or do you want only experienced professionals?
4. Preferred qualifications: Genre familiarity, style-guide experience, self-publishing workflow knowledge, or prior work with similar projects.
5. Compensation details: If you can share a budget range, do it. It filters out mismatches immediately.
6. How to apply: Tell them exactly what you want: a short intro, links to portfolios, references, and/or a sample they can edit.

Here’s a quick example of the kind of specificity that helps: if you’re hiring an editor for a dystopian YA novel, you might say you want someone with experience strengthening tension, theme, and pacing. You can even reference resources like dystopian plot generator if you’ve been using it—editors who know that craft will understand what you’re aiming for.

In my experience, a clear job ad doesn’t just “attract applicants.” It attracts the right kind of applicants, which saves you hours of sorting and messaging.

Step 4: Post Your Job Ad on Relevant Platforms

Posting your job is easy. Posting it where editors will actually see it? That’s the trick.

Here are places that tend to work well (and yes, I’ve seen the difference between random posting vs. targeted posting):

• Editing associations and groups: Professional orgs are great because people there tend to be serious about the craft. For example, the Editorial Freelancers Association (EFA) is a solid starting point. Specialized LinkedIn groups can also bring in experienced editors.
• Freelance platforms: Upwork, Fiverr, and Freelancer are useful when you want volume and easy comparison (reviews, portfolios, and messaging are right there).
• Publishing/content job boards: Sites like MediaBistro attract people already working in editorial roles, so you’ll often get fewer “wrong fit” applications.
• Your own network: Don’t sleep on this. Post it on LinkedIn, share it in writing groups, or ask your network directly. Sometimes the best editor isn’t “searching for jobs”—they’re just connected to the right person.

To put the market in perspective, there are around 74,471 editors employed in the U.S., and there are thousands of open roles at any given time. That means you’ve got options—but competition can also be real, especially for editors with strong portfolios.

Step 5: Review Editor Applications Carefully

Once applications come in, don’t treat this like a “read everything” situation. I recommend a quick triage system so you don’t burn hours.

Here’s how I handle it:

1. Filter immediately: If they don’t meet your basic requirements (genre experience, availability, type of editing), move on fast.
2. Create tiers: I usually split candidates into “strong fit,” “maybe,” and “nope.” It keeps you from getting overwhelmed.
3. Look at relevant work history: Did they edit similar projects before? If you’re self-publishing, an editor with indie experience may understand the workflow and common pitfalls. For instance, someone who’s helped authors get published without an agent might be more familiar with timelines, formatting expectations, and revision cycles.
4. Read the sample work closely: I’m not just looking for “clean writing.” I’m looking for quality of suggestions. Are they consistent? Do they explain decisions? Do they improve clarity without changing your voice?

Also, when the job market is tight, editors who are actively seeking work can be more motivated and responsive. You might spot some great options just by reviewing quickly and moving decisively.

Step 6: Interview Potential Editors

This is where you find out if the editor can do the job and if you’ll actually enjoy working with them. I’ve had “perfectly qualified” editors I couldn’t stand communicating with. That matters.

I suggest a short video call (15–30 minutes). Not formal. Just enough to get a real sense of how they think and how they talk.

Ask questions like:

• “Can you describe your editing process from start to finish?”
• “Tell me about a challenge you faced editing something similar to my project. What did you do?”
• “How do you handle feedback and revisions—do you have a specific workflow?”
• “What turn-around time would you realistically offer for a project with my word count?”
• “How do you deliver edits—tracked changes, comments, or a summary report?”

Concrete questions get concrete answers. And since most editors work independently and remotely, interviewing helps you avoid communication surprises later.

Step 7: Request Editing Samples or Tests

Even if someone has great portfolio samples, I still recommend a paid editing test for your specific project. Why? Because a good editor should be able to adapt to your voice and your goals—not just edit “generic” writing.

What I like to do:

• Provide a short excerpt (usually 500–1,000 words).
• Ask candidates to edit it the way they would for the final manuscript.
• Request their usual deliverable format (tracked changes + notes, or comments, etc.).

And yes—pay for the test. That’s not just “nice.” It’s professional, and it respects their time. Plus, editors who are serious tend to take paid tests seriously too.

Step 8: Compare Backgrounds, Skills, and Fit

After the test, you can finally make a real decision. Don’t just pick the editor who “sounds smart.” Pick the one who improves your text in the way you want.

I evaluate candidates using three areas:

• Editing quality: Did their edits make the excerpt clearer, smoother, and more effective? Were they consistent with tone?
• Background and experience: Does their past work match your genre and your publishing goals? If you’re doing something niche (like a graphic novel script or interactive elements), you want someone who’s actually edited that kind of material.
• Chemistry and communication: Were they easy to talk to? Did they ask smart questions? Could you see yourself working with them through multiple revision rounds?

If your project is very specific—like a graphic novel, screenplay-style prose, or an interactive ebook—make sure the editor understands the niche complexity. Otherwise, you might get “technically correct” edits that miss what your audience expects.

Step 9: Agree on Rates and Editing Terms

Alright, you found someone you trust. Great. Now lock it in properly.

Before you start, agree in writing on:

1. Rates: Freelance editors might charge hourly, per-word, or per-project. Median salaries are around $75,020 annually as of 2023, but freelance pricing is its own world. Ask for a clear quote and what it includes.
2. Timeline: Deadlines, delivery dates, and what happens if you miss a revision checkpoint.
3. Revision terms: How many revision rounds are included? What counts as “included revisions” vs. extra work?
4. Payment schedule: Upfront, split payment (like 50%/50%), or payment upon completion. Also ask about deposits for scheduling.
5. File formats and tools: Word vs Google Docs, tracked changes expectations, and whether they use any software tools.

If you’re not sure what “revision” means in their pricing, ask. I’ve seen cases where an editor thought “one revision” meant something totally different. Clear terms prevent that kind of headache.

Step 10: Finalize Hiring and Set Up Onboarding

Now you’re officially ready to hire and get moving. This is usually the easiest step—if you set things up right.

Here are onboarding tips I’d recommend:

• Send files in the right format: Word doc or whatever they prefer. Include all chapters, plus notes you have.
• Share your style preferences: Any voice guidelines, style guide preference (Chicago/APA), and “do not change” rules (like keeping certain terms or spellings consistent).
• Do a quick follow-up call: A 10–15 minute check-in can clear up questions fast and prevent misalignment.
• Confirm communication: How often you’ll check in, where you’ll communicate (email vs chat), and how urgent issues should be handled.

If you’re new to book publishing, this is also a good moment to get familiar with related publishing tasks your editor might support or advise on—like how to format dialogue or understanding the difference between paperback and hardback editions. Even if they don’t do those tasks, being informed helps you ask better questions.

When your prep is solid, onboarding feels smooth. The collaboration starts strong, and edits become a productive process instead of a guessing game.

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