How to Find a Freelance Editor Who’s Right for You
Photo by Christin Hume on Unsplash.
As indie publishing has expanded over the last few decades, freelance editors have become a key part of the process. It’s easy to get so close to your draft that you can’t tell what’s working anymore, and having a professional look over your book is an effective way to get publication-ready.
But, if you are just starting out as an indie author and haven’t made any connections yet, where do you find an editor? How do you know they will be right for you and your story? And what are the red flags you should be on the lookout for?
The first step is understanding the different types of editing and how each can benefit your book. Most people think of editing as correcting grammar and typos, but it can be much more involved than that. These are the four types of editing, which should be done in this order:
Developmental editing.
This is a big-picture analysis, where the editor will focus on areas like plot, character arcs, pacing, worldbuilding, and overall story structure. A developmental editor will write you a detailed edit letter that goes over your story’s strengths and weaknesses, and they usually include comments in the margins of the manuscript as well to expand on the edit letter with precise examples.
Line editing.
This is a sentence-level analysis, but a line editor is less concerned about wayward commas and more concerned about how effective the prose is. Line editing merges some of the roles of the developmental editor with some of the copyeditor and has become a popular service for indie authors specifically (traditional publishers don’t usually hire separate line editors). A line editor will focus on areas like tone, word choice, continuity errors, repetition, and writing in a passive voice.
Copy editing.
This is usually what people think of when they encounter the word editing. Copy editors ensure the manuscript is grammatically correct. They use or create a style guide to ensure the text is consistent (for areas that have no “right” or “wrong” answer, like whether to use American or British spelling, the oxford comma, or written numerals). Some freelance editors will combine copy editing and line editing into one service.
Proofreading.
Proofreaders look over the document that has been formatted for printing to catch any remaining minor errors, like typos, unwanted widows and orphans, or line breaks in the wrong place. They’re usually the final set of eyes before the book goes to the printer.
As an indie author, you probably won’t hire four different editors, because that would get expensive, but you should look for an editor who specializes in the area your story needs the most. Does your novel have a lot of plot holes and pacing issues that beta readers haven’t helped you improve? Hire a developmental editor. Does the prose itself need smoothing out? Hire a line editor. Is your writing tight and engaging, but you want someone to clean up the spelling errors and ensure consistency? Hire a copy editor. Do you just need someone to do the final check to make sure everything is formatted properly and there are no last-minute errors? Hire a proofreader.
Some editors will combine services. I’ve occasionally done a dev + line edit (basically, a line edit with comments in the margins) but I only do this if the author is confident there will be no big changes. Line editing a chapter that will be significantly rewritten, or even removed entirely, is a waste of everyone’s time. Most often, I recommend a developmental edit on its own, but I also understand that budget is a concern, so choose what is workable for you.
Whatever you don’t hire a freelancer for, you will be doing yourself, so make sure you are prepared to fill those gaps.
Where to Find an Editor
Here are a few places you might look for talented freelance editors:
Other indie authors.
Ask indie authors to recommend editors they’ve enjoyed working with. You could also check out the Acknowledgements section in their books, as authors often thank their editors there.
Editing organizations.
Organizations like the Editorial Freelancers Association (EFA), Editors Canada, the American Copy Editors Society (ACES), and the Chartered Institute of Editing and Proofreading (CIEP) have directories of members you can search. Most of these just require a fee to join, so it doesn’t necessarily mean that the editor has experience, but being a member of an organization does suggest they are serious about their job. The CIEP is the exception to this—everyone joins at an entry level, but then they have to show training and experience to become intermediate, professional, and advanced professional members. But there are legit reasons an editor may choose a different organization over the CIEP (I’m a developmental editor and they have, historically, been more focused on copyediting and proofreading, so the EFA had more to offer me as far as courses and training).
Blogs, podcasts, and websites by publishing professionals.
Following writers, editors, agents, or other publishing professionals can give you leads on potential editors. For example, I’m a freelance editor with a blog, newsletter, and podcast, so potential clients could get a feel for my personality and communication style by looking at those things.
Reedsy.
You can work with an editor directly or you can hire one through a platform like Reedsy, which connects writers with publishing professionals. It means you will likely be paying a higher fee for the same service, but Reedsy does offer guarantees and peace of mind, which makes it worth it for some writers.
Mentorship programs.
Programs and contests like Revise & Resub (RevPit) and The Word’s Editor-Writer Mentorship connect editors with writers; these are opportunities for those who cannot afford an editor to have a chance at working with one. As I’m a RevPit editor, I know that they vet their editors, requiring them to do an editing test before being invited to participate; therefore, you know there’s accountability and demonstrated expertise if you win the contest or hire a RevPit editor.
What to Look For in an Editor
Anyone can just slap “editor” on their resume, so how do you know whether you can trust someone with your book? Here are a few things to check.
Training.
A Bachelor of Arts in English or Communications may advance an editor’s understanding of language but doesn’t mean they have direct training in editing, which is a specific skill. A certificate in Publishing or Editing from a reputable university means they have taken editing courses specifically. Taking editing courses from an organization or editor are also a good sign; reputable organizations that I know of offering training include the EFA, Editor’s Canada, ACES, CIEP, ClubEd, and Liminal Pages, so if they’ve taken courses from any of those, you know they’ve done their homework.
Experience.
Have they worked on books like yours before? Some combination of training and experience is best, but more experience is usually accompanied by a higher rate, so you have to balance hiring a newer editor vs. a seasoned one with your budget. Hiring an editor does not guarantee publication or sales, so make sure you are not counting on making that money back (i.e. do not put yourself in debt to hire an editor!).
Specialization in the type of editing you want.
I don’t recommend someone who only specializes in developmental editing to do a copy edit, or vice versa. Many freelance editors are trained in more than one type of editing, but it’s best to check. And make sure that you are both defining terms similarly; for example, some people say proofreading when they really mean copyediting or use other terms interchangeably.
Familiarity with your genre and age category.
There are many commonalities to editing, so I could do an okay job at editing a romance novel; however, because my specialties are fantasy, sci-fi, and horror, a romance editor is much more likely to do a great job, since they will be familiar with the tropes, reader expectations, and style of the genre. Similarly, middle grade novels are very different from adult novels; fiction is very different from nonfiction; academic articles are very different from a cookbook. An editor who understands your market is key to receiving the most helpful revisions for your project.
Testimonials.
Have clients said good things about them? Most freelance editors have testimonials on their websites, but you could also ask to speak directly to writers who have worked with them.
Reasonable rates.
What’s “reasonable” often depends on the editor’s experience and the writer’s budget, but the Editorial Freelancers Association has a chart that gives median rate ranges (this one is from 2024, but they update it every so often), which can give you some idea of what to expect. Remember, these are averages, so you will see rates both lower and higher than these. If it’s extremely different, I would raise an eyebrow; for example, if someone is offering fiction dev editing for $0.001/word ($80 for an 80,000-word novel), I wouldn’t expect much from the edit, and if someone is charging $0.10/word ($8000 for an 80,000-word novel), that’s pretty outrageous.
A contract or agreement.
It’s helpful if the editor provides an agreement, which you both sign, so all parties are clear on the project parameters. The contract should include a description of the work (will they be providing you with an edit letter? Comments in the margins? An hour-long video chat? How many rounds of editing will they do?), the start and delivery date, payment details (how much are you paying? How are you paying? How much is the deposit?), an agreement to keep your work confidential, and what happens if either party needs to cancel or postpone.
A personality and communication style you’re comfortable with.
Every editor is different. Some are encouraging cheerleaders while others are harsher critics. Some prefer email communication while others offer video calls. Some love to chat with their authors every day during edits, while others are quieter while they’re working on the book. None of these are “right” or “wrong” ways to edit, they’re just disparate. Consider what your preferences are, and try to find an editor who matches your expectations.
A good editor not only points out areas that need work, but will suggest solutions (and I do mean suggest, not dictate). They also understand that this is your book, not theirs, and will work to highlight your voice and meet your goals for your story. Partnering with an editor who fits your communication style and preferences, who understands your genre and audience, can make you a better writer and level-up your novel like nobody’s business. When choosing an editor, if all else fails, listen to your gut, don’t be pressured into hiring someone you’re uncomfortable with, and do your research. Both you and your readers will appreciate it.
Published December 4, 2025
