I have been a full-time professional developmental editor for more than twenty years. In fact, I started editing as a freelancer in the early 2000s, just as self-publishing became a viable option for writers.

Over the past twenty-five years, I have worked to understand clearly what authors need from a developmental edit and to find ways to communicate solutions that provide the most value. In other words, I have tried to talk to my writers and see how I can be better.

This article is a synthesis of twenty-five years of thinking about editing. I have set out how I believe editors should approach developmental editing and how authors can ensure that they are getting the best value for money.

The role of developmental editing

The role of the developmental editor is, at its most basic level, to identify ‘big-picture’ problems in a book and then give the author a clear path to fix them.

The editor provides deep knowledge of story, genre and the market that will allow an author to lift their book to the next level.

How the editor fits into the publishing process varies slightly depending on whether the writer is following the traditional or self-publishing route. In traditional publishing, the editing will be carried out by the publisher, and the author will probably receive multiple rounds of editing. In self-publishing, the author will pay a freelancer for a single round of edits.

If you want to learn more about the differences between the processes, I have this article about the traditional publishing process. I also have this article about the self-publishing process.

What does a developmental editor do?

Later in this article, I’ll discuss how to find an editor, costs and even how to spot red flags, but first, let’s look more closely at what the editorial process will be like.

Assuming you have an editor, or one has been assigned by your publisher, you will have submitted your manuscript, normally in Word, and will be waiting for the next step.

These steps represent best practice for editors and will give you a clear indication of what you should expect from an editor.

Writer intention

The very first step should be communication between the editor and the author. This is not a quick get-to-know-you exercise; it is a deliberate process in which the editor is on a fact-finding mission to learn as much as possible about the writer’s intention for the book.

Here’s a quick example I use when training new editors. Imagine you come to a manuscript cold; you’ve not talked to the author prior to the edit. You begin to read and decide that the location descriptions are far too sparse. You create a report and spend a large amount of time highlighting where the novel needs more description. To your horror, when the author gets the report, they are angry and frustrated. They explain that the lack of description was intentional and that they wanted to create a world that felt distant and even confusing at times. This can all be avoided by a pre-edit fact-finding mission.

How an editor goes about discovering the writer’s intention varies from editor to editor. For me, it starts with an email in which I ask specific questions. I then carry out a pre-edit meeting where I try to fill in the blanks.

Below are some common questions I’ll ask an author:

  • What genre is your book?
  • What books will readers of your book also love?
  • How do you want the reader to feel when reading the book?
  • What are you trying to do with the book?
  • What message do you want the reader to take away from the book?

There are more, and the questions vary with each book and author, but this should give you a pretty clear understanding of the process.

The two-read system

I will die on the editorial hill that it’s impossible to edit a book without reading it twice.

The first read sees the editor treating the book as a reader would, tracking how the story makes them feel and understanding the wider plot. During this read-through, the editor pinpoints areas that are potential issues.

The second read is all about revisiting and diagnosing the potential issues now that the editor has a clear picture of the book.

Once an editor has a clear understanding, they can take steps to provide solutions.

This is impossible without reading a book twice.

Feelings to evidence

One of the foundational moments for me as an editor was the realisation that I could use my feelings to spot potential issues in a book. This meant that, rather than trying to find problems from the outset, I could draw on my experience as a reader and editor and use my feelings as a kind of issue detector.

And here’s the great thing about this approach: the more experienced you are as an editor and the more books you read, the better you become at recognising these feelings.

Some of the common feelings you are looking for when editing are:

  • Boredom.
  • Confusion.
  • Being distracted.
  • Not caring about the characters.

There are more, and there is subtlety to the approach, but these are the kinds of feelings you are recording.

Problems to solutions

On the second read of the manuscript, the editor will look for evidence that supports their theories about the issues in the book. The combination of feelings, experience, plot and evidence will help the editor pinpoint the actual problem.

Take this example…

I am reading a novel, and as we reach the climax of the story, where the protagonist is about to face a life-and-death battle, I suddenly realise that I just don’t care whether they survive. I record this feeling in my first-pass notes.

When I finish the book, my experience tells me that this feeling arises when the character has no clear motivation. So I go back to the opening chapters.

I have three questions in my mind:

  • What does the character want?
  • What obstacles do they need to overcome?
  • What happens if they fail?

I can’t find the answers to these questions.

I now have my problem, so I write a long explanation in the report explaining the importance of goals and motivations. I still have a niggle that the protagonist’s character arc might not be suitably defined, so I carry out another examination to make sure that each moment of conflict is instigating some level of change in the character, be that an actual change, a change in how the character understands themselves or a change in how the reader understands the character.

The editorial report

The editorial report is the main way in which an editor will communicate with the author.

This is a multi-page document that provides the author with a clear roadmap to understanding the steps they need to take to lift the book to the next level.

As an author, you should expect the report to include, at minimum:

  • A general overview of what is working in the manuscript, so you can ensure you retain these elements in the rewrite.
  • A list of the global problems the editor discovered. Each problem should be clearly explained, there should be direct evidence showing where it occurs, and you should be given at least one detailed solution.
  • A list of local chapter problems. Again, the problem should be explained with clear evidence and a solution to the issue laid out clearly.

A little note here: some editors will include additional information. At times, I will include details of tropes I feel could be used. I also include a ‘chapter map’ with the point of view, the main characters, the main events and the purpose of the chapter.

A quick comment about embedded comments. I know that not all editors do this, but personally, I find it very helpful to use the embedded comments feature to leave comments within the manuscript. This is where I leave my first-pass comments and highlight evidence to support my local and global solutions.

The aim is to create a workflow in which the author can look at the global issues, then the chapter issues, and use the embedded comments in the manuscript to see the problems in context.

Post-edit support

The support offered to an author post-edit is essential. At the very least, the editor should be available to answer questions via email. The reality is that authors almost always need additional support.

The best place to start is a post-edit meeting. This is typically a video chat. I find this interaction invaluable. It allows writers to ask questions and the editor to provide clarification. There is one additional bonus: it allows the editor to add subtlety to their feedback. The editor should have taken steps to make it clear which problems are most pressing and which will have the biggest impact, but this is not always the case. The meeting allows the editor to direct the writer towards the areas that require the most attention.

The second thing to consider is revisions. Any good developmental feedback is going to stimulate some level of rewriting. The chances are that the author will want some kind of assessment of the changes, if only to ensure that things are going in the right direction.

The amount and level of revision support will be down to the editor. I would urge any author to clarify, before the edit is carried out, what level and number of revisions are included in the price.

I offer unlimited revisions. I think I am the only editor doing this, but I feel that revisions are such an important part of the process that writers must feel they have the freedom to work at a pace that fits them and their workflow.

How long does developmental editing take?

There’s no single answer to this, but as a rule of thumb, I’d say it takes about a month to edit a novel.

Here’s why…

The first thing to remember is that the editor will be reading the book twice. They will stop and make notes as they go. If an editor is editing 5,000 words a day, they are doing well.

So, for a 60,000-word novel, it will take about twelve days to complete the first pass. Add another twelve days for the second pass, and we are already at twenty-four days. You need to add the time required for the report, emails, meetings and so on, and you can quickly see that it amounts to about a month of work.

It’s really hard to speed up this process. You can only read so fast. Go any faster, and you are likely to miss potentially important things.

How much does developmental editing cost?

I have a comprehensive article that answers in detail the question [how much does developmental editing cost].

Let me provide a rough outline here so you have some ballpark figures to work with as you move forward.

On average, an experienced developmental editor is going to cost you $30 per 1,000 words. This means that, for a 60,000-word manuscript, you will pay just under $2,000.

I would expect this payment to be split in two, with half due on submission and the rest on completion. The details of the payment and the services provided should be in the contract you sign with the editor.

Here’s a calculator based on my prices so you can work out what you should expect to pay to have your book professionally edited.

PRICE CALC

Where to find developmental editors

Finding a good developmental editor is a difficult process, and there is no set way to discover the editor who is right for you and your book.

There are, however, several options that can work.

Word of mouth

The best place to start is to ask around. If you know authors who have used editors and write in the same genre as you, then start there. There’s one thing to note: the editor-author relationship is a personal one that requires the editor to ‘get’ what the author is trying to achieve with their book. Just because an editor was right for one author does not mean they will be right for you and your book.

Google

I say Google, but what I really mean is search engines. Don’t be afraid to Google ‘good developmental editor’ or ‘book editing’. This will still produce good results. Personally, I’d ignore the sponsored section and look through the first couple of pages. This will give you a list of people to start investigating.

Social media

Keep an eye on your social media platform of choice. Personally, I like to inhabit Reddit. I find it a great place to provide value to authors and help people become better writers. This is a good subreddit to start with. I also use Bluesky, which I find is a great place to share my ideas. However, focus on your social media platform of choice and see which editors appear trustworthy.

Fiverr

You will find editors on Fiverr. Whether they are good editors is another question. Fiverr is notorious for being home to quick-fix, scammy editors out to make a quick buck. The reputation is probably a little harsh, but there is some truth in it. If you are going to use Fiverr, make sure you do your homework beforehand. I’d suggest checking out the ‘spotting red flags’ section below.

Reedsy

If you are going to use a platform, Reedsy is your best bet. Its biggest selling point is that it vets editors. It is worth keeping in mind that Reedsy vets an editor’s background, not their ability to edit. This means that, as with all sites, you still need to keep your wits about you. Also note that Reedsy takes a 20% cut of each transaction, so prices tend to be higher than if you go directly to an editor.

How to spot red flags when hiring an editor

Finding a good editor can be a bit of a minefield. Below are some guidelines you can use to weed out scammy operators and find the best editors.

Undisclosed AI use

An editor should never upload your manuscript to an AI system or use AI to generate your editorial report without your explicit permission. The issue is not necessarily the technology itself, but consent and transparency. If you are paying for careful human analysis, you should not receive automated feedback disguised as an editor’s original work. Before hiring anyone, ask whether AI will be used, what it will be used for, and whether any part of your manuscript will be shared with an external service.

Unsolicited messages

Be cautious when an editor unexpectedly approaches you through email, social media or direct messages and immediately begins promoting their services. Although a newer editor may have a legitimate reason for seeking clients, established professionals often find work through recommendations, repeat clients and publishing contacts. An unsolicited message is not proof of dishonesty, but it is a reason to investigate the editor’s background and ask why they contacted you specifically.

Refusing a sample edit

A sample allows you to judge whether an editor understands your manuscript and provides the kind of feedback you need. For developmental editing, this might take the form of a short written assessment; for line or copy editing, it should normally show comments or tracked changes within the manuscript. Refusing to provide any meaningful sample makes it difficult to verify the editor’s skill. Some reputable editors charge for samples, so the important question is whether the sample is useful, manuscript-specific and representative of the final service.

Suspicious pricing

Editing prices vary considerably according to the manuscript’s length, condition and complexity, as well as the editor’s experience. An unusually high quotation should come with a clear explanation of the expertise and services included. An extremely low quotation can be equally concerning because a thorough developmental edit requires substantial reading, analysis and report writing. Instead of choosing solely by price, compare the scope, deliverables, turnaround time and level of contact included in each quotation.

Pressure to pay quickly

An editor who pushes you to make an immediate payment may be more interested in closing the sale than determining whether the partnership is suitable. You should have enough time to review the sample, contract, schedule and deliverables before committing. I recommend splitting the payment, such as paying half when the manuscript is submitted and half when the work is completed, so that the financial risk is shared. Whatever arrangement you choose, it should be clearly documented and agreed upon without pressure.

Refusing a contract or NDA

Not every editor automatically supplies a formal contract, but a reputable professional should be willing to provide written terms when requested. The agreement should identify the work being purchased, its price, payment schedule, deadline, deliverables and cancellation terms. If confidentiality is particularly important to you, you can also request a nondisclosure agreement. An editor’s refusal to document the arrangement or address reasonable confidentiality concerns should be treated seriously.

Avoiding direct communication

You should know who will be editing your manuscript and have a reliable way to contact that person. At minimum, you should receive the editor’s name and professional email address, although calls or video meetings can also be helpful. An editor who conceals their identity, communicates only through vague intermediaries or refuses reasonable contact may be difficult to hold accountable. Direct communication is also important because developmental editing often involves discussing intentions, priorities and possible revisions.

Immediate availability

An editor who can begin immediately is not automatically unqualified, particularly if they are new, have had a cancellation or deliberately leave space in their schedule. Nevertheless, experienced editors are often booked in advance, so instant availability may be worth asking about. The key is openness: the editor should be able to explain when they can begin, how much work they currently have and whether your manuscript will receive their full attention.

Unrealistic turnaround times

A meaningful developmental edit cannot usually be completed in a few hours or days, especially for a full-length novel. The editor needs time to read closely, understand the book as a whole, identify patterns and produce specific recommendations. A very short turnaround could indicate rushed, superficial or AI-generated feedback, while an excessively long one could reflect poor organisation or competing commitments. Ask for a realistic timeframe and establish how progress updates will be handled.

Missing or unverifiable experience

An experienced editor should normally be able to provide testimonials, references, a professional history or examples of published books they have worked on. Privacy agreements may prevent them from discussing every project, but they should still be able to demonstrate relevant experience somehow. Look beyond polished website claims and verify the information where possible. Testimonials are helpful, but a strong sample and clear answers about the editor’s process are better evidence of how they will approach your manuscript.

Claiming expertise in every kind of editing

Developmental editing, line editing, copy editing and proofreading require different skills. Developmental editing focuses on matters such as structure, character, pacing and narrative logic, while line editing concentrates on style and expression, and copy editing addresses correctness and consistency. Some experienced professionals can offer several of these services, but you should be cautious of anyone who claims to be an expert in everything while describing every service in the same vague terms. Ask exactly what the editor will examine and what you will receive.

I have more extensive information about how to spot red flags in this article.