How to vet an editor

Many authors ask editors to sign an NDA before submitting the manuscript or even a sample. They’ve heard horror stories of editors stealing a book and passing it off as their own work. I’ve never heard of a verified case of this happening, and can’t imagine why any editor would do that. 

After all, publishing can be a time-consuming, expensive process, and any editor who stole from a client would not last very long in this industry. If an editor is asking to see your full manuscript, it’s probably because they want to get the clearest idea possible of your needs, so they can assess whether they have room in their schedule for it, they have the specific skills needed to bring out its potential, and whether the type of editing you’ve asked for is appropriate.

If you’ve done your due diligence, you should be able to answer these questions that testify to their professionalism and value:

1. Do they have testimonials on their website?

What do their clients say? Are you able to verify that the people who gave those testimonials are real people? For example, if you look up their books on Amazon, are those the same books that are listed in their portfolio? Does the picture attached to the testimonial match the real identity of that person (as in, it’s not a stock photo)? Bear in mind that publishers often have their subcontractors sign an NDA that precludes them from listing those books in their portfolios, so if you don’t see big-name authors, it’s not a sign that the editor isn’t a good one. Check out my testimonials here. You can also have a look at some of the books I’ve worked on, in my portfolio.

2. What training do they have?

If they have training from recognized providers like the Chartered Institute for Editing and Proofreading, the Publishing Training Centre, Editors Canada, the Editorial Freelancers Association, ACES, USC San Diego, and other such institutions, then that means they have the skills needed to do a thorough and professional job. High-school English and a Grammarly plugin, or a weekend crash course, are not sufficient for professional-level editing. My training is mostly from the CIEP, the PTC and the EFA. I also hold a BA in English Literature and taught English for a decade. Click here to see more information about my qualifications.

3. What are their professional affiliations?

Are they members of recognized professional organizations? These organizations often have member codes of conduct that members agree to follow, which include rules about their professional ethics. Do they share links to their profiles or listings in them?

For example, if you’re checking out editors and see that this one is a Professional Member or Advanced Professional Member of the Chartered Institute of Editing and Proofreading, then that means they have proven hours of training and experience and submitted glowing references from clients to a panel who assessed them based on strict criteria, without knowing the identity of the editor. This process can take several months, if not years, (if we’re counting the time spent gaining that experience and completing that training) so it’s a great big neon sign that this editor is verified and worth their fee.

And it’s not a one-and-done qualification; there are criteria they have to continue to meet each year to maintain that status. The CIEP also has rules that state that members must specify their membership level when mentioning their membership in the organization. Note that not all organizations require their members to qualify to be listed in the directory in this way. You can read the CIEP’s Code of Practice here. 

I’m a Professional Member, so I know exactly how challenging going through that process can be! I’m also a member of the Editorial Freelancers Association, and I am listed as a verified provider in the ALLi partner directory, where Gecko Edit has been rated as “Excellent” (visible to members only).

4. What do others in their field think of them?

If you were referred to that editor or proofreader by another editor, that means the person who referred them is willing to stake their own reputation on that person being professional and worth your time (and money).

Other signs of being held in good esteem by their peers are if they have published articles on professional groups’ blogs or websites, or they have presented webinars for groups in the publishing community, or they hold a position of responsibility in that community.

For example, I have several blog posts published by the CIEP as well as by the Editorial Arts Academy. I’ve presented webinars to members of the CIEP and the EFA. I’ve also been interviewed on Twitch about editing, and appeared as a guest in Jennifer Lawler’s Club Ed. I am a forum moderator for the CIEP community, one of the coordinators for the CIEP’s Fiction Special Interest Group, and a regular attendee of weekly meetings.

Some of these are listed on my Qualifications page as well. Here’s a blog post you might enjoy, which can give you some insight into what it’s like to work with me.

5. Can you get a sample edit?

Many editors offer paid or free sample edits. Whether they charge for them or not has no bearing on whether they’re a good editor or not; that’s their personal choice based on their needs.

A sample edit benefits the editor and the author because it lets them get a clearer picture of your needs so they can quote you a more specific fee, and it lets you get a taste for what their editing style is, how clear their communication is, how smoothly the handover goes, and how deep their intervention is likely to be. You can also compare sample edits with other editors, especially if you send them the same sample text.

It’s like going on a blind date; you’re not marrying them, but you’re getting a decent idea of the chemistry. If the editor offers a free sample, grab the opportunity to see for yourself if they’re worth their fee! If they don’t mention it, there’s not harm in asking for one.

I offer free samples up to 1000 words of all my services, and can even do samples of multiple services so you can compare them and make an informed choice about what you’d like me to do. Ask me for a quote with a sample edit!

Rates aren’t the only sign of a good or bad editor

While some organizations like the EFA and CIEP have suggested rates on their websites, usually as a result of a member survey to get a sense of averages, every editor is different. Running your own business costs money, and we may perform every role of every member of the “company,” from editor to office manager to CEO to accountant to janitor. We have to pay for website hosting, equipment, training, membership in professional organizations, taxes, and our own cost of living.

Some editors choose this career because they have disabilities that require them to stay home, or because they prefer to work from home, or maybe they’re just really into commas. Some might have a huge support network who can help out with childcare, while others work around caring for their loved ones full-time. You cannot know what the editor’s costs are, and you can bet those are a huge factor in their rates.

One of the great things about being an editor is the ability to live all over the world, and take on clients from all over the world. I was lucky enough to marry someone whose job requires him to change countries every few years, and I couldn’t ask for a life more full of adventure! I consider myself a digital nomad, and so even though I live in Ecuador right now, in six months’ time, I could be living on the other side of the world.

My primary market is the United States, though I do have clients in other countries as well. For that reason, I base my rates on the median rate per word suggested by the EFA. However, that list is not perfect, and it is the result of a non-randomized survey. It’s a couple of years old, to boot. I think the CIEP’s suggested minimum rates can give authors more realistic expectations, as they are adjusted for inflation and are updated every year, in March.

This is all to say that each editor calculates how much they need to charge in order to meet their costs, run a profitable business, and put food on the table. Their location or nationality doesn’t necessarily mean they should or must charge more or less. You can never know someone’s personal situation, and they’re under no obligation to share that private information with you, so be careful of making harmful assumptions.

Using the suggested rates from the EFA and CIEP can give you a rough estimate to see if the services that have been quoted are reasonable. But there are many other factors at play, and so cost is not necessarily a sign of value. Likewise, a cheaper editor is not necessarily going to do a crappy job on your book. Sometimes it’s worth taking a chance on an editor whose career is just getting started.

It’s up to you to find an editor whose style, training, skills, communication, schedule, and price fit your needs. And if you’ve received a quote that might be a little high for you, try negotiating it. The editor might be able to streamline the service so that they can charge a lower fee while still making a fair hourly rate. There’s no harm in asking.

If your editor meets all five of the criteria above, then you’ll be better positioned to judge whether their value to you is on par with the price they’ve quoted you. If you’re ready to start looking for your perfect-fit editor, I suggest starting with the CIEP directory.