Hiring a book editor is one of the biggest investments you’ll make as an author. You’re not just sending your manuscript off for corrections, you’re trusting someone with your voice, your story, and months (or years) of your hard work.
The right editor can help you bring out the absolute best in your book. The wrong one can cost you time, money, and confidence. That’s why it’s so important to ask the right questions before you commit.
As an editor and full-time published romance author, I’ve seen this process from both sides of the desk. I know exactly which details authors often forget to ask, and which answers can reveal whether an editor is a great fit or a potential headache.
Not all of these questions need to be asked directly. In many cases, the answers should be easy to find on the editor’s website. Still, it’s always okay to confirm this information before you book. These are things you should know before committing to any editorial service, whether you gather them from the editor’s site or by asking directly.
In this guide, I’ve compiled 34 essential questions to ask before you book an editor. These questions will help you protect your timeline, budget, and creative vision—and ensure you hire someone who respects both your story and your time.
And as a bonus, I’ve included 🚩 red flags to watch for wherever applicable. These are warning signs that could save you from costly delays, mismatched expectations, or a frustrating editing experience. Not all red flags mean you should turn back; communicate your concerns with the editor.
Let’s look at the list of questions and then we’ll break each question down, one-by-one, to see why it is worth asking (or knowing).
Timeline & Scheduling
- When will you actually start working on my manuscript?
- Once you start, how long will the edit itself take?
- Can I send my manuscript closer to the start date?
- How many manuscripts do you work on at the same time?
- What’s your process for keeping projects organized and avoiding mix-ups?
- Do you ever work ahead if a manuscript comes in early?
- Can you work to a fixed deadline if needed?
Editing Services & Process
- Which types of editing do you offer, and which one is right for me?
- How many passes will you make through my manuscript?
- Do you read the entire manuscript before beginning the edit?
- What genres do you specialize in?
- Will you provide a sample edit or evaluation?
- How do you deliver feedback?
- Will you edit in my preferred English variant? (US, UK, Canadian, Australian, etc.)
- Which style guides and dictionaries do you follow for your edits?
- Will you respect my voice and style?
- How do you handle sensitive content or trigger warnings?
- Do you check for consistency in plot, character, and timeline?
- Will you flag potential legal issues, such as defamation or copyright concerns?
- Do you fact-check, and if so, to what extent?
- Do you provide a written contract or agreement?
Communication & Collaboration
- How will we communicate during the edit?
- Can I ask questions while you’re working on my manuscript?
- Do you offer follow-up support after the edit is delivered?
- What happens if I disagree with an edit?
- How do you handle author queries or feedback?
Payments & Policies
- What is your rate, and what does it include?
- Do you offer payment plans?
- How do you accept payments?
- What is your refund or cancellation policy?
Experience & Professional Standards
- What is your editing background or training?
- Do you have testimonials or references I can check?
- Do you work with self-publishing authors, traditional publishing, or both?
- Are you a member of any professional editing organizations?
1. When will you actually start working on my manuscript?
Turnaround times can be misleading. If an editor says a project takes 8–12 weeks, that doesn’t necessarily mean they’ll start the day you send your manuscript. In many cases, they won’t even open your file until several weeks into that window. Knowing the actual start date helps you plan your time and prevents your manuscript from sitting untouched in someone’s inbox.
Once you know the start date (or approximation), follow up by asking if it’s okay to keep working on your manuscript until then. You might even ask if they can give you a week’s notice before they’re ready to begin. There’s no point sending a manuscript early just to have it sit for weeks or months, especially if you could be using that time for self-edits or beta reader feedback, for example. Of course, this isn’t an issue if you want time away from your book, but the choice should be yours.
(I actually have a great blog post on turnaround timeframes! Click here to read it.)
When I book a project, I give clients a specific start date and the option to send the manuscript early if they wish. If I can start sooner than planned, I will—but if not, you’re free to keep refining your work right up until I begin. Check with your chosen editor what they do in regards to start dates or turn-around timeframes.
🚩 Red Flag: If an editor can’t give you even an approximate start date (even if it could change), or insists you send the manuscript right away without telling you when they’ll begin, you may face long, unnecessary delays. Communicate your concerns with the editor.
2. Once you start, how long will the edit itself take?
Once an editor begins your manuscript, the actual editing time can vary. It may not be an exact number of days, but rather a range or an approximate completion date. The timeline depends on several factors: the length of your manuscript, the amount of work it needs, the type of edit you’ve booked (developmental edit, line edit, etc.), and the editor’s working style.
A professional editor should be able to give you a clear range or an estimated due date once they’ve confirmed your start date. That way, you can set realistic expectations and plan your own schedule, whether that’s preparing for revisions, lining up other edits, or working toward a launch date.
When I work with clients, I always give them both a start date and a target delivery date (which is our ‘due date’) based on their manuscript’s length, type of edit, and any complexities we’ve discussed. That means you’ll know not only when I’ll start, but also when you can expect your feedback showing up in your inbox.
🚩 Red Flag: If an editor can’t give you a timeframe once they know your word count and type of edit, they may be overbooked or unsure how to manage their workload. No due date can lead to unnecessarily long wait times which can lead to you, as the author, feeling uncertain, worried, and questioning when your manuscript will be returned.
3. Can I send my manuscript closer to the start date?
If your editor’s start date is several weeks or months away, you don’t necessarily have to send your manuscript immediately. In fact, if they won’t be starting on it for a while, it can be better to hold onto it and keep revising—polishing your draft through self-edits, feedback from critique partners, or additional read-throughs.
Ask your editor if you can submit it closer to the agreed start date, and see if they’re willing to give you a little notice before they begin (a week’s heads-up is a great common courtesy). This way, you get the maximum time to improve your manuscript before the edit starts. (If there isn’t a set start date, see question #1!)
I give my clients this flexibility by default. You can send your manuscript early if you wish, especially if there’s a chance I can begin ahead of schedule. But if not, you’re welcome to keep working on it until our start date.
🚩 Red Flag: If an editor insists you send your manuscript right away without telling you when they’ll start, it could mean your project will sit untouched in a backlog for weeks or even months. If they claim you need to send it to be put in their queue, that’s a lie. By booking, they should have you written into their queue, schedule, calendar, etc. even without having your manuscript.
4. How many manuscripts do you work on at the same time?
Every editor has their own workflow. Some prefer to focus on one project at a time, while others juggle multiple manuscripts at once. A small amount of overlap isn’t necessarily bad as switching between projects can give an editor fresh eyes, but too many active manuscripts can cause delays, slow progress, and even lead to mix-ups between stories.
Asking this question helps you understand how much attention your book will actually get. For example, if an editor has six “active” manuscripts at once, your project may only get a small fraction of their time each week.
I generally work on one manuscript at a time from start to finish. Occasionally, I’ll work on a second, but only if an author chooses to send theirs in early and I have time to make progress before the scheduled start date (and if I want a little distance from the other manuscript I’m working on). This keeps your story front and center without competing for my attention.
If you’d like to learn more about how juggling too many projects can affect an edit, and why some editors quote such long timelines, I explain it in detail in my post: How Long Does Editing Really Take?.
🚩 Red Flag: If an editor avoids answering this question, or admits to working on so many projects at once that yours could get lost in the shuffle, you risk delays, a rushed edit, or even feedback that confuses your book with someone else’s.
5. What’s your process for keeping projects organized and avoiding mix-ups?
Editors who work on multiple manuscripts need a reliable system to keep each project’s files, notes, and style choices (if applicable) separate. Without one, there’s a real risk of confusing details between clients—a character name from another book slipping into your feedback, or notes about scenes that don’t exist in your story.
Ask how your editor keeps things straight. Do they use style sheets to track character names, locations, and story details? Do they maintain separate folders for each client? Do they log their notes in a way that’s easy to reference? The answer should give you confidence that your book won’t get mixed up with someone else’s.
In my editing process, I use individual project folders, labeled file versions, and notes so I can quickly reference your details at any stage of the edit. Whether I’m working on one manuscript or two, your story’s information is always clear, organized, and separate from other clients’ work.
If an editor only works on one manuscript at a time, this should not be an issue.
🚩 Red Flag: If an editor can’t explain how they keep projects organized, or dismisses the concern entirely, you risk sloppy feedback, incorrect notes, or worse—your book being confused with another client’s manuscript.
6. Do you ever work ahead if a manuscript comes in early?
Sometimes a project finishes sooner than expected, which can open up space in an editor’s schedule. If you’re able to send your manuscript ahead of your official start date, ask whether your editor will take advantage of that extra time or simply hold onto it until the original date.
Working ahead can be a huge bonus if you’re hoping for earlier feedback, but it’s not always necessary, especially if you still want time to revise your manuscript. Either way, the answer to this question tells you how flexible your editor’s scheduling is.
There is nothing wrong with asking your editor if they start early if they finish a different manuscript, or if they can notify you if it is possible for an earlier start date. If not, that is okay, and isn’t necessarily a red flag; it just means the editor may want to use that extra time in other ways.
I give my clients the option to send their manuscript early, with the understanding that if I can start sooner, I will. If I can’t, you’re welcome to keep refining your work right up to the original start date at 8am Eastern Time. This ensures you’re not losing valuable time in your writing process.
🚩 Red Flag: If an editor insists you send your manuscript early but makes it clear they won’t touch it until your scheduled start date, your work may just sit untouched while you lose time you could’ve spent improving it.
7. Can you work to a fixed deadline if needed?
Sometimes you have a hard deadline that isn’t flexible. Maybe you’ve announced a release date, booked other editors, or scheduled ARC readers. In these cases, you need to know if your editor can commit to a fixed delivery date before you book.
I get it; I schedule different parts of my editing process on a tight, strict schedule for my books. I need to know when I’ll receive my edits!
Be upfront about your timeline when you inquire, and ask whether the editor can meet it without overloading their schedule. Some editors offer rush services for projects that need faster turnarounds, often at a higher rate. Others simply can’t commit to deadlines that fall outside their standard schedule. If you need it back by a certain date, be clear and explain why. For example: “I need my copyedit back by November 18th so I have a few days to review the changes. I have a proofreader booked for November 25th and need to get the manuscript to them on time.”
If I know you have a fixed deadline, I’ll let you know right away whether I can realistically meet it, and I’ll only commit if I’m confident I can deliver on time. I’d rather be honest upfront than overpromise and leave you scrambling. (I know how that feels!)
🚩 Red Flag: If an editor casually agrees to a hard deadline without asking for details about your word count, edit type, or manuscript readiness, they may be overpromising, and you could end up with a late delivery. Look in the contract for a specific due date.
8. Which types of editing do you offer, and which one is right for me?
Not all “editing” is the same. The most common types are:
- Manuscript Evaluation / Editorial Assessment – A high-level read-through with a written report on structure, pacing, character arcs, and overall story strengths/weaknesses. No in-manuscript edits.
- Developmental Editing – In-depth big-picture editing with comments and suggestions made directly in the manuscript, often alongside an editorial letter.
- Line Editing – Sentence-level refinement for flow, clarity, and style while preserving your voice.
- Copyediting – Correcting grammar, spelling, punctuation, consistency, and factual accuracy.
- Proofreading – The final polish to catch typos and grammatical errors after all other edits are complete.
It’s important to know exactly which service you’re booking, and whether it matches your manuscript’s current stage. Booking a proofread when your story still has major structural issues won’t serve you, and hiring a developmental edit when you just need a final polish will waste time and money.
When authors aren’t sure, I help them determine the right service by asking about their goals, where their manuscript currently sits, and even their future plans. That way, they book the service that actually moves their book forward.
Note that some editors do all of the above edits, while others, like myself, specialize in certain types. (You can view my list of editorial services, at this link.)
🚩 Red Flag: If an editor uses terms like “manuscript evaluation” and “developmental edit” interchangeably, or says a “line edit” and “copyedit” are the same thing (they aren’t), or doesn’t clearly define what each includes, you risk paying for a service that doesn’t deliver the depth (or scope) you were expecting.
9. How many passes will you make through my manuscript?
A “pass” refers to how many times an editor reads through and works on your manuscript during the project. Some editors do one pass, addressing all feedback in a single, continuous read-through. Others do two passes—for example, the first to identify and mark changes, and the second to refine or double-check their feedback or edits.
The number of passes can impact both timeline and depth. A single pass may be faster, but a two-pass edit can be more thorough. This is especially relevant for developmental and line edits, where fresh perspective on a second read can catch additional issues.
When I take on a project, I’m clear about how many passes I’ll make and why. Most of my services are one in-depth pass unless otherwise stated (my developmental edits are two passes), though I may review certain sections again if needed for clarity or consistency. My goal is always to balance thoroughness with efficiency so your feedback is both detailed and timely.
🚩 Red Flag: If an editor can’t tell you how many passes they’ll make, or avoids explaining their process, you won’t know how in-depth your edit will be, which can lead to mismatched expectations about thoroughness and turnaround time. One pass isn’t a red flag; but knowing what you’re paying for is important!
10. Do you read the entire manuscript before beginning the edit?
Whether an editor reads your full manuscript before starting depends on the type of edit and their workflow.
For developmental edits and manuscript evaluations, many editors prefer to read the entire manuscript first to understand the story’s overall structure, pacing, and character arcs before leaving detailed feedback. This big-picture perspective can make their notes more cohesive.
For line edits, copyedits, and proofreads, editors may work straight through from beginning to end without a separate “pre-read.” That’s normal. These stages are more focused on sentence-level detail, grammar, and consistency, which can be handled as they go.
When I take on a project, I’m transparent about my approach. For example, I may skim certain sections ahead of time to gauge the scope of work, but I’ll always work in a way that ensures my feedback is consistent and informed by the full manuscript.
🚩 Red Flag: There’s no one “right” way here—but if an editor refuses to explain their process or gets defensive when asked, that lack of transparency can be a concern.
11. What genres do you specialize in?
An editor’s genre expertise can make a big difference in the quality of their feedback. Every genre has its own reader expectations, pacing norms, tropes, and structural patterns. An editor who regularly works in your genre will understand what your target audience expects, and will spot issues that might otherwise go unnoticed.
That doesn’t mean an editor must work exclusively in your genre to do a good job, but it’s worth knowing whether they have relevant experience. A romance editor, for example, will know the beats readers anticipate in different romance subgenres, while a mystery editor will be skilled at identifying plot twists that land or give too much away too soon.
While I specialize in romance of all heat levels and subgenres, I also work with authors in other genres, from fantasy to mystery. If your manuscript is outside my main focus, I’ll discuss how I can adapt my process to fit your needs, and I’m upfront about when another editor might be a better fit.
🚩 Red Flag: If an editor claims to “specialize in everything,” or dismisses the importance of genre knowledge altogether, they may not have the depth of experience needed to meet reader expectations in your specific market. An editor that works with all types of manuscripts isn’t necessarily a red flag, but if they claim they specialize in everything that is a red flag.
12. Will you provide a sample edit or evaluation?
A sample edit or evaluation lets you see exactly how an editor works before committing to a full project. It’s one of the best ways to assess whether their editing style, communication, and level of detail match what you’re looking for.
Some editors offer free samples (usually a small section, like 1,000–2,000 words), while others charge a small fee for the time it takes to do them. In either case, the goal isn’t to get free work, it’s to confirm whether you and the editor are a good fit.
I offer free short samples for two of my most in-depth services so authors can see my feedback style firsthand. If a sample isn’t possible for a certain service, I’m happy to provide detailed descriptions so you know exactly what to expect.
🚩 Red Flag: If an editor refuses to give you a way to gauge their editing style before booking, you may be going in blind, and risk finding out too late that you’re not a match. An editor should always offer a sample edit (for free or a small fee) on editorial services like developmental edits, line edits, copyedits, and proofreads for first-time clients.
13. How do you deliver feedback?
Editors can deliver feedback in different ways depending on the type of edit. For example, a manuscript evaluation may come as a multi-page editorial letter without in-manuscript edits. A developmental edit often includes comments and suggestions directly in the document along with an overview letter summarizing key points. A line edit typically uses in-line tracked changes to refine sentence flow and clarity, sometimes with additional margin comments for issues that need the author’s discretion, but it usually does not include an overview letter. Copyedits and proofreads are also delivered via tracked changes, with a focus on grammar, spelling, punctuation, and consistency.
It’s important for your editor to clearly explain how you’ll receive your feedback so you know exactly what to expect… not just the format, but also the level of detail and any supporting documents. This helps prevent surprises and ensures you understand how to use their notes effectively.
In my own services, the delivery method depends on which editorial service you’ve booked. I list exactly what’s included and how it’s delivered on each service page, but I’m always happy to talk through it with clients to make sure it’s crystal clear before we start.
🚩 Red Flag: If an editor can’t or won’t tell you what your feedback will look like—or vaguely promises “notes” without detail—you could end up disappointed or unsure how to implement their suggestions.
14. Will you edit in my preferred English variant? (US, UK, Canadian, Australian, etc.)
This question mainly applies to line edits, copyedits, and proofreads, as those stages focus on spelling, punctuation, and grammar rules that vary between English variants. A developmental edit or manuscript evaluation won’t focus on these differences, so the variant usually isn’t relevant at that stage.
Your editor should clearly state whether they work with all English variants or only certain ones. If they do line edits, copyedits, or proofreads, they should be comfortable applying the correct style guide, spelling rules, and formatting for your chosen variant. The key is making sure this is confirmed before the work starts so you don’t have inconsistencies later.
I don’t do line edits, copyedits, or proofreads. Because of that, I am happy to read and edit all English variants on a developmental level.
🚩 Red Flag: If an editor dismisses the concern or claims “there’s no difference” between English variants, that’s a sign they may not understand or respect the distinctions. However, it’s not a red flag if an editor only works in certain variants or if they handle all variants—as long as they’re upfront about it.
15. Which style guides and dictionaries do you follow for your edits?
For line edits, copyedits, and proofreads, an editor’s choice of style guide and dictionary determines how they handle everything from spelling and hyphenation to punctuation, capitalization, and formatting. Common industry standards include:
- Chicago Manual of Style (widely used for fiction in the U.S.)
- Merriam-Webster’s Collegiate Dictionary (U.S. spelling reference)
- Oxford Style Manual or New Oxford Style Manual (common for UK and Australian publications)
Knowing this upfront ensures your manuscript will be edited according to recognized standards—not just personal preference. It also helps maintain consistency, especially if you’ve worked with other editors or plan to self-publish through platforms that expect specific style conventions.
As I don’t provide line edits, copyedits, or proofreads, I don’t use specific style guides or dictionaries.
🚩 Red Flag: If an editor can’t tell you which references they use or if they say they “just go by what looks right” your edits may be inconsistent and less professional. This can be the difference between someone who knows what they are doing and someone just doing this because they’re “good at English” and like to read.
16. Will you respect my voice and style?
Your voice is your book’s fingerprint—it’s what makes your writing uniquely yours and keeps readers coming back for more. A good editor should enhance your work, not overwrite it.
In a line edit, this means improving clarity, rhythm, and flow while keeping your unique tone intact. Your choice of words, sentence cadence, and narrative style should still sound like you—only smoother and more polished.
In developmental editing, respecting voice means aligning suggestions with your story’s tone, genre expectations, and target audience. A developmental editor should help you strengthen your vision, not change your plot, characters, or style into something that reflects their own preferences instead of yours.
If you ever feel like an editor’s changes are steering the book away from your intended voice or message, that’s a sign to speak up. A respectful editor will explain why a change is recommended and will back off if it doesn’t serve your goals.
If I have questions about a client’s vision for their book, I ask. I try to offer suggestions that will improve their story while maintaining the author’s goals and voice.
🚩 Red flag: If an editor pushes large-scale stylistic changes without a clear explanation or dismisses your concerns about keeping your voice, it’s a sign they may be prioritizing their own preferences over your story. Your editor should be enhancing your voice, not replacing it. If their changes make your book feel like it no longer belongs to you, that’s a serious warning sign.
17. How do you handle sensitive content or trigger warnings?
Every editor has different comfort levels and policies when it comes to handling sensitive or potentially triggering content. These may include topics such as violence, abuse, sexual assault, self-harm, or other emotionally charged subjects.
It’s important to know upfront whether your editor is willing and able to work with your material. Some editors will accept all topics as long as they are handled with care, while others may decline certain manuscripts entirely. Many editors request that you share a list of content warnings before booking so they can ensure they’re the right fit for the project and so they can prepare emotionally if they agree to take it on.
If your book contains sensitive material, transparency is key. Providing a brief, honest overview of these elements in advance will help avoid misunderstandings later. This is especially important if you’re working with an editor for the first time, as it builds trust and ensures everyone is on the same page from the start.
As an editor, I happily work with all romance subgenres and most topics, but I do have a few boundaries that I outline clearly on my website. If you’re unsure whether your manuscript might cross one of those lines, I encourage you to reach out so we can discuss it. For example, I don’t accept active on-page rape scenes as part of the plot, but I’m open to stories where it’s mentioned as part of a character’s backstory if handled with care. Clear communication from the start ensures I can give your book the attention and respect it deserves.
🚩 Red Flag: If an editor dismisses your concerns about sensitive content or refuses to clarify their boundaries, it may be a sign that they’re not taking your project seriously. Likewise, if they agree to work on the manuscript but later ask you to remove or alter sensitive scenes without a clear professional reason (and outside the scope of what you discussed), that’s a sign the match might not be right. An editor setting boundaries for what they are willing to work on is not a red flag; some editors only want to work on certain content and that is okay!
18. Do you check for consistency in plot, character, and timeline?
Consistency is one of the most common issues in a manuscript, and it’s something editors should be actively checking for. This includes making sure plot events line up, characters act in ways that make sense given their established traits, and the story’s timeline is believable and coherent. Even small details, like whether a character’s eyes change color between chapters or if two events overlap when they shouldn’t, can break immersion for readers.
Different types of editing will address consistency at different levels. A developmental edit may catch big-picture issues with story logic, pacing, or character arcs. A line edit may focus more on whether a character’s voice or behavior stays consistent scene-to-scene. A copyedit or proofread might pick up timeline errors, continuity slips, or factual inconsistencies.
When I work on a manuscript, I always keep an eye out for consistency across all levels of editing—not just the surface details, but the story logic that keeps your narrative strong. Whether it’s a major plot hole or a small continuity error, my goal is to help you deliver a seamless reading experience.
🚩 Red Flag: If an editor downplays the importance of consistency or refuses to clarify what they check for at their editing stage, you may end up with feedback that misses critical continuity errors. Every editor’s scope is different, but they should be able to tell you how consistency fits into their process.
19. Will you flag potential legal issues, such as defamation or copyright concerns?
While editors are not lawyers, many will flag potential legal concerns if they notice them in your manuscript. These could include:
- Characters too closely resembling real people in a way that could be seen as defamatory
- Use of song lyrics, poetry, or long excerpts from other works that may be under copyright
- Questionable use of trademarks, brand names, or product references
- Sensitive factual claims presented without sources
Editors can’t provide legal advice, but they should at least point out possible risks so you can decide whether to reword, research further, or consult a publishing attorney.
When I edit, I always flag anything that might raise a concern to the best of my ability—whether that’s an exact lyric quoted, or a character whose description too closely mirrors a real-world public figure. I’ll let you know what caught my eye, so you can make an informed decision about how to handle it.
🚩 Red Flag: If an editor claims they “don’t bother” with these issues, you may be left exposed to risks you didn’t realize were there. On the other hand, if they position themselves as a legal authority rather than simply flagging concerns, that’s also a warning sign—editors should never replace professional legal advice.
20. Do you fact-check, and if so, to what extent?
Fact-checking is one of those areas where editors vary widely in their approach. Some editors consider it outside the scope of their work, while others specialize in verifying details, especially in fields like history, science, or law. It’s important to know what your editor does—and doesn’t—cover so you’re not caught off guard.
Different levels of editing also affect how fact-checking is handled. A developmental editor may notice if a timeline doesn’t line up with known historical events, or if a plot element feels implausible. A line or copyeditor may flag things like inconsistent measurements, incorrect geographical details, or a misused term. A proofreader typically won’t fact-check at all as their focus is on catching typos, punctuation, and grammatical errors.
As an editor, I don’t provide extensive fact-checking, but I do flag anything that looks questionable. If a detail seems off, I may do a quick check or at least note it for you to review. My goal is to help you avoid jarring errors that pull readers out of the story while keeping the responsibility for in-depth research where it belongs—with the author or an expert.
🚩 Red Flag: If an editor won’t clarify whether fact-checking is part of their process, you could assume something will be covered when it actually won’t. On the flip side, if they promise exhaustive fact-checking without specialized training in your subject area, you may want to dig deeper into what that really means.
21. Do you provide a written contract or agreement?
A written contract or service agreement protects both you and your editor. It clearly lays out the scope of the project, what the edit includes (and doesn’t include), the start and completion dates, payment terms, and policies for cancellations, refunds, or delays. Having everything in writing avoids misunderstandings and ensures everyone is on the same page before the project begins.
Some editors use formal contracts, while others use detailed service agreements or written proposals that require your approval. What matters is that the expectations are clear and that you have a document to reference if questions or disputes come up.
I always provide a written agreement so my clients know exactly what to expect. This keeps things transparent and ensures there are no surprises later. It also allows us to establish trust right from the start.
🚩 Red Flag: If an editor refuses to provide a written contract or agreement, or relies only on a casual email or verbal promise, you run the risk of unclear expectations, missed deadlines, or disputes over what was promised.
22. How will we communicate during the edit?
Communication is key to a successful editing relationship. Some editors prefer to work quietly and deliver all feedback at the end, while others check in periodically with updates or questions. Knowing your editor’s communication style upfront prevents surprises and helps you feel confident that your manuscript is in good hands.
You’ll also want to clarify which channels your editor uses: email, project management tools, scheduled calls, or messaging apps. Having a set method keeps everything organized and ensures you know how to reach each other if something comes up.
I communicate primarily by email, and my clients know I’m always available that way. I often reply quickly, but there may be times I’m busy, away from home, or asleep. If I know I’ll be unavailable for a stretch of time, I always warn my current clients in advance. I also check in regularly during the edit so you know where I am in your manuscript, and I give you a heads-up as I approach the end so you can be prepared for your final payment, if needed. Quite often, edits are completed before the official deadline, and in those cases, I can send them early once the final invoice has been paid.
🚩 Red Flag: If an editor doesn’t clarify their communication style or avoids answering how and when they’ll update you, that’s a concern. Equally troubling are editors who take excessively long to respond, ignore emails or questions, or seem to lack basic communication skills. While no editor can be available 24/7, a professional should still be reasonably responsive and approachable. Responsiveness is a green flag because it shows respect for your time and your book.
23. Can I ask questions while you’re working on my manuscript?
It’s natural to have questions while your book is in the editing process. Some editors encourage ongoing dialogue during the project, while others prefer to focus on the edit and address questions after delivery. What matters most is that your editor is clear about what’s included in the service and where additional support may come with an extra cost.
For example, if you’ve booked a manuscript evaluation, your editor might be happy to clarify points in their feedback but won’t be able to walk through full rewrites or new brainstorming sessions without an additional agreement. Likewise, if you’ve booked a proofread, questions about plot or pacing may fall outside the scope of that service.
In my own services, it depends on what you’ve booked. My Alpha Reader and Beta Reader services include a set number of questions that I answer about your story, but additional questions require a small fee because they go beyond the scope of the initial service. For other edits, if your question falls within the agreed scope, I’m always happy to help and provide clarification. Generally speaking, questions are usually asked after the service has been completed as any feedback/reports aren’t being sent in real time.
🚩 Red Flag: If an editor shuts down all communication during the project or refuses to clarify what is and isn’t included in your service, you may end up frustrated or feeling like you can’t get answers. On the other hand, if they say “yes” to unlimited questions without boundaries, you risk misaligned expectations later.
24. Do you offer follow-up support after the edit is delivered?
Once you’ve received your edit, you may have questions as you review the feedback. Some editors include follow-up support in their services, while others limit it to a set number of email exchanges or a scheduled phone call (sometimes included, other times available at an additional cost). It’s important to know exactly what kind of support is available after delivery so you can make the most of the feedback.
I believe all clarification questions should be included in the service because it’s important that authors fully understand the edits they’ve received. However, follow-up questions should be asked as soon as possible after the edit is delivered. Waiting a month or more makes it harder for an editor to recall the reasoning behind specific notes, especially if they’ve already worked through several other manuscripts in the meantime. Prompt questions lead to clearer, more accurate answers. For certain services, like my Alpha Reader and Beta Reader Reports, a set number of questions are included with additional ones available at a small cost. As long as it is within the scope of the service ordered, I’m happy to help.
🚩 Red Flag: If an editor refuses to answer any questions after delivering your edit, that’s a concern. On the flip side, if they don’t set any boundaries around ongoing support, you may find expectations clashing later. A professional editor will clearly outline what kind of follow-up is included and what might require an additional service.
25. What happens if I disagree with an edit?
No matter how skilled an editor is, not every suggestion will resonate with you. That’s completely normal. Editing is a collaborative process, and at the end of the day, the book belongs to you. A good editor should be able to explain the reasoning behind their changes or suggestions (when asked) and respect your decision if you choose not to implement them.
Disagreement doesn’t mean the edit was unsuccessful; in fact, it can spark productive discussions about your goals and your story. What matters most is that your editor approaches these moments with professionalism and flexibility rather than defensiveness. An editor should try to help you navigate your story to help it be the best version of itself instead of completely trying to change your story.
In my editing, I make it clear that you’re always in control of your manuscript. If you disagree with a suggestion, I encourage you to ask me why I made it and I’ll explain my reasoning. But if you still feel it doesn’t fit your vision, that’s perfectly fine. My goal is to strengthen your voice and your story, not replace it with my own.
🚩 Red Flag: If an editor insists their way is the “only” correct way, dismisses your concerns, or pressures you to make changes that don’t align with your vision, that’s a sign they may not respect your role as the author. It can also mean that you and an editor simply aren’t a match, which is okay, too.
26. How do you handle author queries or feedback?
Author queries are the questions and clarifications that come up during or after an edit. A professional editor should welcome your feedback and provide clear, thoughtful responses that fit within the scope of the service. The key is knowing how your editor prefers to handle those interactions and what you can expect in terms of response time, detail, and scope.
Some editors include queries directly in the manuscript, leaving comments for you to consider as you revise. Others prefer that you reach out by email after reviewing the edit, so you can ask follow-up questions. There’s no single “right” method, but it should be clear and manageable for both sides.
When I edit, I encourage authors to reach out with any queries related to my notes, especially if something isn’t clear. I reply as promptly as possible (via email, my preferred communication method) and always make sure my answers are practical and easy to apply. If the feedback requires deeper brainstorming outside the scope of the edit, I’ll suggest next steps, whether that’s an additional service or another form of support.
🚩 Red Flag: If an editor is defensive about feedback, ignores author questions, or makes you feel like you’re a burden for asking, that’s a major warning sign. An editor who values collaboration will respect your queries and ensure you understand their notes. This can also be a sign that you and an editor simply aren’t the right match for each other.
27. What is your rate, and what does it include?
Editing rates can be structured in different ways: per word, per page, per hour, or a flat project fee. There’s no single “right” method, but what matters most is clarity. As an author, you should know exactly what you’ll be paying and what that payment covers, whether it’s one pass through your manuscript, an editorial letter, in-line comments, or follow-up support.
Unfortunately, some editors don’t make their rates public, which can be frustrating when you’re trying to budget and compare services. As an author, I understand the frustration! Even if rates vary by project, a professional editor should at least give you a starting point or range, along with a clear breakdown of what’s included in that price.
Personally, as both an author and editor, I don’t like when rates are hidden. On my website, my rates are listed openly along with exactly what’s included in each service. That way, there are no surprises. You’ll know upfront how I charge and what deliverables you’ll receive for your investment. Just as it should be!
🚩 Red Flag: If an editor won’t share their rates or can’t explain what’s included for the price, you risk hidden costs or unmet expectations. Transparency is key in building trust before you book. If an editor has their rates listed as one price on their website but then tell you a different price, that’s a big red flag and one that I’ve had happen to me with an editor!
28. Do you offer payment plans?
Editing is a major investment, and many authors appreciate flexible payment options. Some editors require full payment upfront, while others split payments into two or more installments—for example, half at booking and half upon completion. A few even offer monthly payment plans for larger projects. Some even take the full payment after the edits. It varies so much from editor to editor.
Asking this question helps you plan your budget and avoid unexpected financial strain. It also ensures you know exactly when payments are due and whether the final delivery of your edit depends on a completed balance (which it often does).
In my own services, my payment terms are clear on the service webpages. For smaller services, I require a deposit at booking with the remaining balance due upon our start date. For per-word services, I require a deposit at booking, 50% of the cost on our start date and the remaining 50% due on our completion date (or, if the edit is completed sooner, the remaining balance before it is delivered). If a client requests making additional payments prior to our start date or completion date, I’m happy to talk it over as long as the amounts are aligned with my payment terms.
🚩 Red Flag: If an editor is vague about payment schedules or demands the entire fee upfront without explanation, that’s worth questioning. A professional editor should have a clear payment structure that protects both parties.
29. How do you accept payments?
Payment methods vary from editor to editor, and it’s important to know what options are available before you book. Some editors use PayPal or Stripe, others prefer direct bank transfers, and some may accept credit cards or international services like Wise. Each method can come with its own processing fees or restrictions, so it’s worth clarifying upfront.
The key is to choose an editor whose payment methods are both convenient and accessible for you, especially if you’re paying from outside their country. Knowing whether extra fees apply (for example, PayPal international transfer fees) will also help you plan your budget more accurately.
For my services, I currently accept payments via Stripe (you can make credit card or debit card payments safely through it), and I make sure clients are aware of any potential fees before they commit. Transparency around payments is just as important as transparency around pricing. Stripe is my preferred payment method, but I also accept payments via Zelle and Venmo upon request. I do not accept payments directly via Paypal as I do not have a Paypal account.
🚩 Red Flag: If an editor only accepts unusual or inconvenient payment methods, isn’t upfront about additional fees, or has no secure way to process payments, that’s a warning sign.
30. What is your refund or cancellation policy?
Refund and cancellation policies protect both the editor and the author. Because editing is a service—not a product that can be returned—many editors do not offer refunds once work has begun. Deposits are often non-refundable since they secure your place in the editor’s schedule.
Policies may also vary when it comes to rescheduling. Some editors allow clients to move their start date or switch to another service with little restriction, while others treat changes as cancellations. Knowing the exact policy ahead of time will save you from stress or lost payments if your plans shift. This is something that should be outlined in a contract!
In my own editorial business, I don’t issue refunds for rendered services, and all deposits are non-refundable. This is where we get to some ‘real talk!’ If a client needs to cancel, the deposit is retained as I now no longer have a client for that slot, which means a lack of income that I was counting on. If a client wishes to reschedule or change their edit type, I handle it on a case-by-case basis depending on how far out the edit is scheduled and what my availability looks like. Rescheduling an edit that is suppose to start tomorrow is different from moving up an edit 3 months out to 2 months out. If I offer a client an earlier start date due to an unexpected opening, there are never any extra fees to shift the edit forward. For payment plans, if a client has paid the deposit and part of the balance but cannot pay the remainder, the edit is not delivered until the final invoice is paid since the full service has already been completed. This keeps things fair and professional for both sides. Remember that editors rely on scheduling and clients to pay on time; otherwise, they don’t get paid!
🚩 Red Flag: If an editor has no stated refund or cancellation policy, or changes their terms mid-project, you could be left with unexpected costs or lost work. A professional editor should clearly outline these policies in writing before any money changes hands.
31. What is your editing background or training?
Editors come from all sorts of backgrounds. Some have degrees in English or creative writing, others have formal training or certifications in editing, and many have experience working in publishing houses. But just as often, editors are also authors themselves, bringing valuable firsthand knowledge of storytelling, structure, and what readers expect from a polished book.
The key is transparency. An editor should be upfront about their background and how it informs their editing approach, whether that’s formal training, professional experience, or lived experience as an author. What matters most is their ability to spot issues, give constructive feedback, and help you strengthen your manuscript.
As an author and editor, I draw on my own writing and publishing experience to guide my editorial work. Because I know what it’s like to be on the other side of the desk, I focus on content editing and storytelling support by helping authors refine their plots, pacing, and character arcs with the same care I put into my own books. While I don’t have a formal degree in editing, my skills come from years of writing, studying the craft, and working directly with manuscripts in the romance genre and beyond.
🚩 Red Flag: If an editor refuses to share their background, avoids explaining how they gained their experience, or tries to inflate their credentials without proof, that’s a warning sign. You deserve to know what qualifies them to edit your work.
32. Do you have testimonials or references I can check?
Testimonials and references help you see what other authors thought of an editor’s work. They provide reassurance that the editor delivers what they promise and give you a glimpse into the editor’s style, professionalism, and communication. Many experienced editors showcase testimonials directly on their websites so you can read them before reaching out.
If an editor is new—either to editing in general or to freelance work—they may not have testimonials yet, and that’s okay. In that case, a sample edit or evaluation can be especially helpful, giving you the chance to gauge their style before committing to a full project.
I list several testimonials on my website so potential clients can get a sense of what it’s like to work with me. And if you’re new to my services, I also offer samples on select edits (Developmental Edits & Manuscript Evaluations) so you can see firsthand how I provide feedback.
🚩 Red Flag: If an editor refuses to share any references, testimonials, or work samples—and won’t provide another way for you to gauge their style—you may be booking blindly. If they are simple new and don’t have testimonials to share, that’s okay; they should be willing to provide a sample edit on your work.
33. Do you work with self-publishing authors, traditional publishing, or both?
Different publishing paths often require different kinds of editorial support. Editors who primarily work with traditional publishing may be more focused on preparing a manuscript for submission to agents or publishers, while those who work with self-publishing authors often tailor their feedback toward polishing a book for direct release to readers. Some editors comfortably do both, while others specialize in one area.
Knowing this helps you make sure your editor understands your publishing goals. If you’re self-publishing, you may want someone who’s familiar with indie standards, platforms, and reader expectations. If you’re seeking traditional publication, you’ll likely want an editor who can help strengthen your manuscript with an eye toward marketability and submission readiness.
I work with both self-publishing and traditionally focused authors, though I specialize in helping indie authors polish their manuscripts for readers. My goal is to meet you where you are in your publishing journey and tailor my feedback to your long-term goals.
🚩 Red Flag: If an editor dismisses one publishing path (“self-publishing doesn’t need editing” or “traditional publishing authors don’t need feedback”), it’s a sign they may not respect your goals or understand the market you’re aiming for.
34. Are you a member of any professional editing organizations?
Membership in a professional editing organization, such as the Editorial Freelancers Association (EFA), ACES: The Society for Editing, or the Editors’ Association of Canada, can show an editor’s commitment to their craft. These organizations often provide training, resources, and networking opportunities, and in some cases (like the EFA), they maintain a searchable public directory of members.
That said, being a member isn’t required to be a skilled editor. Many talented editors choose not to join these organizations, especially if they already have strong experience, work directly with authors, or come from an author background themselves. The important thing is that your editor answers this question honestly and explains how their background and experience qualify them.
I’m not currently a member of a professional editing organization, but I’m transparent about that. Instead, I rely on my experience as both an editor and a published author to guide my work with clients. For me, capability and clarity matter more than credentials and I’m always happy to explain my process and background when asked.
🚩 Red Flag: It’s not a red flag if an editor isn’t a member of a professional organization—but it is a red flag if they claim membership and you can’t verify it. Many organizations, like the EFA, maintain public directories, so membership is easy to check. Misrepresenting credentials is a serious warning sign.
Final Thoughts: Choosing the Right Editor for Your Book
Hiring an editor is one of the most important steps in your publishing journey. It’s not just about polishing sentences or catching typos, it’s about finding someone who understands your goals, respects your voice, and helps your book reach its full potential.
The 34 questions in this guide aren’t meant to overwhelm you or create a checklist you must run through in full every time. It isn’t mean to be a list to send to potential editors, either. Instead, they’re here to help you make sure the basics are covered, expectations are clear, and there are no surprises once your edit begins. Some of these answers you’ll find on an editor’s website, while others are best confirmed directly, and that’s perfectly okay.
The most important thing is this: you deserve clarity before you invest. You have every right to ask questions, set expectations, and choose an editor who treats your manuscript with care.
As both an author and an editor, I know how valuable that trust is. My approach is built on open communication, clear expectations, and respect for your vision. Whether you’re looking for big-picture feedback or a final polish, I believe you should always know exactly what you’re getting and when.
Choosing an editor is choosing a partner for your book. And when you find the right fit, it can make all the difference.
👉 If you’re looking for an editor who values transparency and collaboration, I’d love to chat with you about your project. You can learn more about my editorial services here or reach out to me directly with any questions.
Happy writing,
Natasha Dubois
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