How-to

How to Hire an Editor

2026-10-03 · 6 min read

Plan, draft, edit and pitch the same book in one project.

For self-publishing authors especially, hiring a professional editor is one of the most important investments in a book's quality. A good editor catches what you can't see, elevates the writing, and helps your book compete with traditionally published titles. But hiring an editor is also fraught: editorial services are unregulated, quality and price vary enormously, and authors often hire the wrong type of editor or get burned by someone unqualified. Knowing how to hire well — choosing the right type of editing, vetting candidates, and setting expectations — protects both your book and your budget.

This guide covers how to hire an editor.

Know which type of editing you need

The first step is identifying which type of editing your manuscript needs, since hiring the wrong type wastes money and disappoints. The main types address different levels: developmental editing (big-picture story, structure, character, pacing) for a manuscript with structural issues; line editing (prose quality and craft) for clunky writing in a sound structure; copy editing (correctness and consistency) for a polished draft needing technical cleanup; and proofreading (final error-catch) for a near-final manuscript. These are often different specialists, and they come in order. So assess your manuscript's stage honestly and match the editing type to its actual needs. Hiring a proofreader when you need developmental help (or vice versa) is a common, costly mismatch. Know what you need before you hire.

Self-edit first

Before hiring, self-edit your manuscript as thoroughly as you can. Hiring an editor is not a substitute for doing your own editing work first — you should bring the editor the strongest version you can produce, for several reasons: it's respectful of the editor's time, it lets them focus on what you can't fix yourself (rather than basic issues you could have caught), it often reduces the cost (cleaner manuscripts need less work), and it makes their feedback more valuable. A professional editing a manuscript you've already polished produces far better results than one cleaning up a rough first draft. So do your thorough self-editing — revision, line editing, proofreading — then hire for the expert outside perspective and skill you can't supply yourself. Self-edit first, hire to go further.

Vet candidates carefully

Because editing is unregulated and quality varies wildly, vetting editors carefully is essential. Anyone can call themselves an editor, so look for genuine qualifications and fit:

Experience and credentials — relevant editing experience, especially in your genre.
A sample edit. The single most important vetting step: request a sample edit (many editors offer a free or paid edit of a few pages). This shows you the editor's actual work, style, and whether they're a good fit, far better than any credential.
References and testimonials from past clients.
Genre fit — an editor experienced in your genre understands its conventions and readers.
Communication and rapport — you'll work closely, so a good working relationship matters.

The sample edit is the key: it reveals the editor's competence and approach concretely. Vet thoroughly before committing, since a bad editor can waste your money or even harm your book. Quality varies enormously; due diligence protects you.

Understand costs and get clear terms

Editing costs vary widely by type, length, editor experience, and depth — developmental editing is typically the most expensive (it's the deepest work), proofreading the least, with line and copy editing between. (This is general information, not specific pricing, which changes and varies; research current rates for your needs.) Before hiring, get clear terms in writing: exactly what type and depth of editing is included, the scope, the price and payment terms, the timeline, and what deliverables you'll receive. Clarity prevents the mismatched expectations that sour many author-editor relationships. Understand what you're paying for and what you'll get. Be wary of prices that seem too good to be true (often signaling inexperience) and of vague terms. A clear agreement on type, scope, cost, and timeline protects both parties and ensures you get the editing you're paying for.

Set realistic expectations

Finally, set realistic expectations about what an editor does. An editor improves your book and provides expertise you lack, but they don't rewrite it for you or guarantee success — the book remains yours, and you'll still do work implementing their feedback. Different editors do different things (a developmental editor gives big-picture feedback to act on; a copy editor fixes correctness directly), so understand the nature of the service. Also, an editor's feedback is advice you weigh, not commands — you retain authorial judgment over your book (handling editorial feedback is its own skill). And no editor can guarantee sales or reviews. Approach hiring an editor as gaining expert collaboration to make your book the best it can be, with clear-eyed expectations about the process and your continued role. Realistic expectations make for a productive, satisfying editorial relationship.

The bottom line

Hire an editor by first identifying which type of editing you need — developmental, line, copy, or proofreading — matched to your manuscript's actual stage, since hiring the wrong type is a common, costly mistake. Self-edit thoroughly first so you bring the editor your strongest version (better results, often lower cost). Vet candidates carefully — editing is unregulated, so prioritize a sample edit (the key step), relevant experience, genre fit, and rapport. Understand the costs (developmental is priciest, proofreading least) and get clear written terms on type, scope, price, and timeline. And set realistic expectations: an editor improves your book and provides expertise you lack, but doesn't rewrite it for you or guarantee success, and their feedback is advice you weigh. Hired well, the right editor is one of the best investments in your book's quality — choose deliberately, vet carefully, and collaborate clearly.

Frequently asked questions

Which type of editor do I need?

It depends on your manuscript's stage: a developmental editor (big-picture story, structure, character, pacing) for structural issues; a line editor (prose quality and craft) for clunky writing in a sound structure; a copy editor (correctness and consistency) for a polished draft needing technical cleanup; and a proofreader (final error-catch) for a near-final manuscript. These are often different specialists; match the type to your actual needs.

Should I self-edit before hiring an editor?

Yes, thoroughly. Hiring an editor isn't a substitute for your own editing — bring them the strongest version you can produce. It's respectful of their time, lets them focus on what you can't fix yourself, often reduces the cost (cleaner manuscripts need less work), and makes their feedback more valuable. Do your revision, line editing, and proofreading first, then hire to go further.

How do I vet an editor?

Because editing is unregulated and quality varies wildly, vet carefully: look for relevant experience (especially in your genre), references and testimonials, and good communication — but above all, request a sample edit of a few pages. The sample reveals the editor's actual work, style, and fit far better than any credential, and is the single most important vetting step before committing.

What should I expect from an editor?

An editor improves your book and provides expertise you lack, but doesn't rewrite it for you or guarantee success — the book remains yours, you'll still implement their feedback, and their feedback is advice you weigh rather than commands. Different types do different things (developmental gives big-picture feedback to act on; copy editing fixes correctness directly). Set clear terms on type, scope, cost, and timeline upfront.