One of the most common questions I hear from writers is some version of, “How do I know when I’m ready for an editor?”
What they’re usually asking is something deeper:
Am I good enough yet?
Am I behind?
Am I wasting time by still revising?
Here’s the truth most writers don’t hear early enough: Editing isn’t a transaction. It’s a relationship—and timing and mental readiness matter more than how “done” the manuscript feels.
Editing Is Not One-and-Done
Editing doesn’t exist to swoop in at the last minute and save a “bad” manuscript. Nor does it exist to rubber stamp a perfect one. An editor’s job is to support a writer’s vision at the right stage of the process, using the right tools.
Can you be “ready for editing” with a partial draft? Absolutely. Can you have a finished draft and still not be ready? Sure. I’m sorry to tell you that the answer is completely dependent on both the author and the project. A good rule of thumb, though, is that when you can no longer tell if you’re making the manuscript better or worse, it’s time to bring in the cavalry.
The Editing Spectrum (And Why Scope Matters)
When editing feels confusing or disappointing, it’s usually not because the writer failed—it’s because the kind of feedback they sought didn’t match where the manuscript actually was.
After all, not all editing does the same job.
Developmental editing looks at structure, story, and big-picture clarity.
Line editing focuses on voice, flow, and sentence-level craft.
Copyediting handles grammar, consistency, and correctness.
Proofreading is the final polish before publication.
Writing coaching runs alongside all of this, supporting process and skill-building.
Each stage serves a specific purpose, with very little overlap in the type of feedback they entail.
If you pay for developmental editing, for example, you shouldn’t expect sentence-level edits, and if you pay for a copyedit, your editor won’t be evaluating your story arc.
That’s not a lack of care—it’s professional focus.
(If you’re not sure what you need, that’s okay. As you interview editors, they can help you distinguish between the different levels and determine where you need to start.)
What Editors Need, and What Writers Can Expect
Editors don’t need perfect drafts.
Here’s what they do need:
a readable manuscript
clarity about your goals and vision
confidence that you understand the scope of feedback being offered
a style guide (for copyedits) to clarify complicated names or made-up words
In return, writers should expect:
Honest, specific feedback
Explanations rooted in craft
Suggestions, not mandates
Respect for the writer’s vision
Ultimately, the book is always the author’s. The editor’s role is to help the writer see it more clearly.
The Emotional Side of Revision
I don’t think we talk enough about how emotional feedback can be.
Letting a relative stranger read your manuscript is a HUGE leap of faith, and it can feel super vulnerable.
Reading their feedback later is, in my opinion, a whole ‘nother emotional ballgame.
Receiving a lot of feedback doesn’t mean you’re a bad writer; it means your editor has spent a lot of time and energy digging deep into how to make your draft even better. If you find yourself feeling defensive, overwhelmed, or discouraged by the feedback you receive, that’s perfectly normal.
Working with feedback is often where writers get stuck—not because they lack talent but because no one has ever shown them how to translate critique into next steps without losing confidence. That’s a skill, and like any skill, it gets easier with the right kind of support.
There Is No Single Path From Draft to Print-Ready
Another question I get asked a lot is, “How many edits will I need?”
And, as always, the answer is that I don’t have a good sense of that until I’ve really gotten to explore your manuscript during that very first edit. Once I know what’s going on in your draft, then I can help you chart a course.
The good news is, there is no “right” or “wrong” path through the editorial phase.
Some writers need developmental feedback before finishing a draft.
Some move back and forth between coaching and editing.
Some stay in revision longer than they expected and end up with stronger books because of it. Not being “ready” for line edits after the first developmental edit isn’t a failure. I swear. Staying where you are until the foundation is solid is often the smartest move you can make.
The Editing Journey Should Be About Clarity, Not Pressure
You don’t need to rush your way into legitimacy by jumping headfirst into the editing process before you really understand it. Knowing what kind of support you need right now is a form of creative maturity, and it’s something you don’t have to figure out alone.
The Inkwell exists to help writers navigate these decisions with clarity, confidence, and community—especially in seasons where time and energy are limited.
Learn more about The Inkwell here.
PS: If you’re revising on your own and want a practical, desk-side companion, my Writer’s Craft Workbook is designed to support focused revision passes.