If you’re a self-published or indie author working on your manuscript, chances are you’ve asked yourself this question: Should I hire an editor? Let me start by saying this—yes. If you want your book to resonate with readers, feel polished, and be taken seriously, hiring a professional editor is one of the most important investments you can make.
When I was working on my memoir, I spent hours writing and rewriting. I knew the story inside and out, but I also knew I needed someone who could see it with fresh eyes. Someone who wasn’t emotionally entangled in every scene. Someone who would ask the right questions, push me to go deeper, and help me clarify what I was really trying to say.
I found that person in Marnie Summerfield Smith, an incredible editor I discovered through a friend’s beautifully written memoir. Before I even read the book, I flipped back to the acknowledgements (it’s just what I do). After I finished the memoir, I reached out to my friend and he gave me a glowing reference. That’s when I reached out to Marnie, and I’m so glad I did.
Working with her changed everything. She didn’t just edit for grammar and flow—she helped me refine the heart of my story. She also pushed me for more dialogue, a whole lot more. It was irritating sometimes, but all that added dialogue made my memoir so much better. And that’s what great editors do. They’re not there to rewrite your work; they’re there to help you say what you meant to say, only better.
So how do you know what kind of editor you need? And how much is it going to cost?
There are different types of editing, and understanding what they offer can help you choose what’s right for you and your book. At the top level, there’s developmental editing. This is where an editor works with you on big-picture elements like structure, pacing, tone, narrative arc, and voice. It’s ideal if you’re still shaping your manuscript and want feedback on how to strengthen your story overall. This what Marnie did with me.
Then there’s line editing, which focuses on your sentences. It’s less about the structure of the story and more about how your words flow. A good line editor helps your writing come alive, making sure your style and tone are consistent while tightening up any clunky or awkward sections.
Copyediting comes next. This type of editing checks for grammar, punctuation, spelling, and basic consistency. It’s more technical than creative but still essential. Finally, there’s proofreading. That’s your last stop before publication—a sharp-eyed editor looking for typos or small mistakes that might have slipped through.
My last step was my pass-pages, where I took my complete manuscript and formatted it for print. I used a Word Template for this, but I hear that atticus.io is a great program, too. These pass-pages are you last glance at your memoir, so pay attention to any red-lines from Word or whatever program you’re using. The last thing you want is a spelling mistake glaring in your book for new readers to see.
For memoirs and other emotionally rich writing, I recommend starting with a developmental edit. Especially if this is your first book. Having someone like Marnie walk through my manuscript and ask questions I hadn’t thought to ask made all the difference. She saw connections I didn’t, gently pointed out where I was skimming the surface instead of digging deep, and reminded me where the real story was. It’s not always comfortable to be edited, especially when your story is personal. But it’s necessary. The end result is a better book.
So let’s talk money. Editing isn’t cheap, and it shouldn’t be. You’re paying for someone’s expertise, their years of training, and their careful attention to your work. But there are options for every budget, and it’s okay to start small. A full developmental edit for a book-length manuscript can run anywhere from $1,000 to $3,000 (sometimes more), depending on the editor’s experience and the length and complexity of your work.
My final editor cost was more because I added about 13,000 words while I was working with Marnie. Line editing and copyediting are generally less expensive but still an investment, even if you do them yourself, which is completely possible. I did. You’re still costing yourself time, but it does save money.
You can also consider paying for a manuscript assessment or editorial letter. This is where an editor reads your entire manuscript and provides a comprehensive review—what’s working, what’s not, and suggestions for improvement—without making direct edits to the pages. It’s less expensive but still incredibly valuable.
You can find editors through author friends, online writing groups, social media, or professional organizations like the Editorial Freelancers Association or Reedsy. But if you read a book that really moves you, look up the editor in the acknowledgments. That’s how I found Marnie, and I wouldn’t hesitate to recommend her to any memoir writer. Her approach was kind, thoughtful, and sharp. She made me feel safe while still challenging me, which is no easy feat.
At the end of the day, hiring an editor isn’t about fixing your book. It’s about partnering with someone who believes in your story and wants to help you tell it well. If you’re trying to decide whether to invest in editing, ask yourself: Do I want my book to be the best version of itself? Do I want readers to feel what I felt when I wrote it? If the answer is yes, then a good editor is worth every penny.
Writing is brave work. Editing is what helps your bravery shine through.