How to Find the Right Developmental Editor (and What That Even Means)

You’ve got a draft. A messy, brilliant, half-loved draft. You know it needs help—but from who? Everyone says “get an editor” like that’s a one-size-fits-all answer.

It’s not. Especially when it comes to developmental editing.

So let’s start here: if you’re not quite sure what kind of editor you need, I highly recommend this blog post from Jane Friedman. It breaks down the different types of edits (developmental, line, copyediting, etc.) and helps you figure out what stage you’re in. [Insert link to Jane’s article here.]

This post is for those of you looking for help with the bones of your story. Structure. Plot. Pacing. Characters. Motivation. Theme. You’re not here for surface polish—you’re here because you want to make the book work. You’re looking for a developmental editor.

But how do you find one?

Let’s talk about that. First, by getting honest about what developmental editing really is. And then by figuring out how to tell if someone’s actually good at it.

Editorial Skill Is a Craft. Not a Certificate.

Editing is one of those fields where anyone can hang up a shingle and call themselves a pro. There’s no test. No license. No industry-wide vetting. Some sites will let anyone in who pays dues. And even the highest rates don’t always mean someone knows what they’re doing.

I learned to edit through mentorship, not marketing. Through internships. Through working for publishers who believed in apprenticeship. I didn’t get into this because I saw an income survey. I got into it because I loved storytelling—and because I wanted to help make good stories great.

But not everyone learns this way. Some skip right to selling services. Some have never had to untangle a complicated manuscript or guide an author through a rewrite. They can comment on the surface, but they don’t always see the deeper mechanics.

That’s why it’s hard to know what you’re paying for. So let’s break it down.

Start With Capabilities

Most authors search for editors the same way they search for flights: cheap, fast, and hopefully going the right direction. But this isn’t a quick hop to the next draft. It’s an investment in your story.

So take the time to search smarter.

👉 Use specific keywords. Don’t just type “editor” into Google or Reedsy. Add your genre. Your tone. Your audience. If you write romantic fantasy with queer leads and dual timelines, search that. Put in as many search terms as you can that feel true to your story.

👉 Read their websites. All the way through. Anyone can say they do “developmental editing.” But do they talk about narrative tension? Character arc? Reader experience? Do they mention theme, voice, or structure?

👉 Look for experience sections. Not just testimonials. Not just name-dropping of publishers. Look for evidence of what they’ve worked on, how they think, and how they approach story.

👉 Don’t pick the first site you see. I know it’s tempting. Especially when you're overwhelmed. But this is like choosing a surgeon. Or a tattoo artist. It’s okay to be picky.

If you’re in it with me, I’ll be the first to awkwardly apologize when I have to switch from character depth to payment plans. But I do that because I care. Because it matters. That’s what you want in an editor.

Then, Look for Compatibility

Not every editor is right for every author. That’s not a bad thing—it’s just true.

Some authors want a once-over and a checklist. Some editors approach this like a 9–5 job. I once met a woman in a Facebook group who left her pension-eligible teaching job to become an editor because she read a survey saying editors made more money. She didn’t like fiction. Didn’t read books for fun. Said, and I quote, “We can’t all have our dream jobs.”

…Ma’am.

That is not the energy you want on your manuscript.

The authors I love working with? They want a relationship. Not just a service. They want someone to walk beside them. Someone who will climb down into the trenches, talk through the hard stuff, and help them figure it out.

That doesn’t mean we’re emailing every day. Some of my clients I check in with once a quarter. Others, we do brainstorming calls and revision rounds and six-month plans.

Whatever relationship you need—that’s the right one for you.

What you don’t need is someone who talks down to you. Who leaves you confused or discouraged. Who treats your story like a transaction. Or worse, who just isn’t qualified to do the work they’re charging for.

There’s no official checklist for this part. But you’ll feel it. And if you’re not sure? Ask for a consultation. Ask for a sample edit. Ask questions.

There Is an Editor Who Will Be Thrilled to Read Your Story

And that’s who you want working on it.

Because that excitement shows up in their feedback. In their attention to detail. In the way they help your story take shape—without ever trying to overwrite your voice.

You might not find them right away. But don’t settle for someone who doesn’t get your book.

You deserve someone who does.