Behind every excellent book is an editor who sharpened its edges, clarified its message, and helped the author reach the heart of the reader. But what makes an author-editor relationship thrive? In this episode, we sit down with Erin Healey, acclaimed editor, bestselling author, and the quiet force behind dozens of award-winning books. With experience on both sides of the publishing aisle, Erin offers hard-won insights into the editing process, how to find the right editor, and why every writer needs a trusted editorial partner. Whether you’re preparing to hire your first editor or looking to improve the working relationship with your current one, this conversation will challenge your assumptions, answer your questions, and help you elevate your writing.
Jim: Our special guest is Erin Healey, a brilliant editor and bestselling author. If you don’t know Erin, she’s my editor, and we’ve worked together on my books. Four of my five Christy Awards came from books Erin edited. She’s also Ted Dekker’s editor and a bestselling author herself, giving her unique insight from both sides of the publishing fence.
As a freelance editor, she’s hired by my publisher and others to work with specific authors on specific projects.
For indie authors thinking, “I’m not traditionally published, so I could never work with her,” think again! You can hire Erin to work on your books.
Erin: I work with a lot of unpublished and indie authors. Probably a third of my business is with indies.
Do you prefer writing or editing?
Jim: You’ve done more editing than writing, but is it a 50/50 love? How would you describe it?
Erin: A 50/50 love is a good way to put it. They’re very different endeavors, but both are creative. Writing is more isolated because I’m creating something from nothing. Editing, on the other hand, involves working with someone else’s material, which is an easier job. Both are satisfying in different ways.
How do you make the author-editor relationship work?
Jim: Thomas and I often say the best marketing for your career is an awesome book. News of a great book spreads by word of mouth. A great book draws readers to your backlist and builds anticipation for your next release. That excellence often depends on the relationship between the author and the editor. Having been on both sides, how do you make that relationship sing?
Erin: The best relationships are built on mutual respect. You don’t need to be best friends or share your deepest secrets with your editor; just respect each other.
As an editor, my job is threefold. First, I catch the author’s vision and understand their goals. Then, I align that vision with the reader’s needs and expectations. Finally, I ask the hard questions to maximize the story’s impact, whether it’s fiction or nonfiction.
The author’s job is to answer those questions, protect their vision, and recognize their own blind spots. When I write my novels, I think, “How hard can this be? I teach this stuff!” But it’s tough. You get so deep in your work that you lose objectivity. I need an editor when I’m writing, too. With mutual respect, very little can go wrong that can’t be fixed.
Why does every author need an editor?
Thomas: You’re a bestselling author and an editor of bestselling books, yet when you write, you’re desperate for an editor.
Erin: Absolutely, I need one!
Thomas: Every book needs an editor. No one is the exception. As Jim says, “You can’t read the label when you’re standing inside the bottle.” A second set of eyes is critical for excellent work.
What should authors avoid when working with an editor?
Thomas: What are things authors should not do when working with an editor?
Erin: Don’t rush the process. This is especially common with indie authors who are excited and want to publish quickly. They often have unrealistic expectations about how long editing takes. Whether it’s developmental editing, line editing, or copyediting, be realistic about the time needed for an editor to do a good job. If you rush, you’ll get a rushed, substandard result.
How much time does editing take?
Jim: Can you give us a timeline for how long an editor needs to make a book the best it can be?
Erin: It depends on factors like the length of the manuscript and the author’s experience level. I’d recommend asking your editor, “How long will it take you to do a good job?” Their answer will depend on whether they’re juggling multiple projects or focusing solely on yours.
For example, a 130,000-word manuscript might need trimming. I can read about 10,000 words an hour and line edit 3,000 to 4,000 words an hour, so I start with that ballpark. But every project is different, so communication with your editor is key.
Do you have any editing horror stories or great success stories?
Jim: Over your years of editing, have you seen anything that made you think, “I can’t believe this happened,” or something that wowed you?
Erin: I don’t have too many horror stories, but one stands out. I worked with an academic whose first book hit the New York Times bestseller list. The developmental editing for his second book was great; we had a blast. But during line editing, which involves aligning the manuscript with the Chicago Manual of Style, things went off the rails. He wanted to challenge every grammar and style rule, insisting on doing things his way.
English is dynamic, especially for fiction writers who have their own voice and style, but the rules exist to help readers understand your work clearly. Deviating from them risks confusion. I pointed out that his first book had errors because he made last-minute changes during the galley stage, introducing inconsistencies. He blamed the editors, saying they didn’t know what was right or wrong.
I advise authors to trust your editor’s knowledge of the rules. If you hate semicolons, that’s fine. Just tell me, and I’ll remove them and find alternatives. But if you want to rewrite the Chicago Manual of Style, I might not be the editor for you. That kind of thing happens sometimes.
When is it okay to break grammar rules?
Thomas: There’s a time to break rules, but it has to be deliberate. In my book, I treated certain concepts as characters and wanted them capitalized to reflect that. I created a style guide specifying how three sets of words would be handled consistently. The team of editors I worked with agreed it made sense and kept it consistent throughout the book. But if you change usage on a whim, sentence by sentence, it looks unprofessional and makes the book harder to understand. For example, using one style in chapter one and a different one in chapter two confuses readers.
Erin: What you’re describing is a reasonable style choice. Editors aren’t inflexible, but you need to communicate your intentions clearly. This ties into another “don’t” for authors, which is, “Don’t avoid communicating with your editor.” Many new authors are intimidated by editors or the editing process, but that’s unnecessary. If you don’t understand a change, ask about it. If something in your story is crucial to preserve, tell your editor. They’re your partner in achieving your goals, not your adversary.
How should authors approach the editing process?
Thomas: That’s so important. Many authors see editors as monsters they must defeat in order to get their books published. That mindset hurts the book’s quality.
Erin didn’t become an editor to thwart authors, make their ideas unclear, or enforce rules just for the sake of it. That’s not the motivation of a good editor. When authors assume bad intentions, it’s hard to take feedback constructively, and it turns into a battle. But if you recognize you and your editor share the same goal of producing an amazing, clear, readable book, you can have productive conversations about the “why” behind suggestions. Not every change an editor suggests is mandatory.
Erin: Communication is key. Your editor is there to help you, not to fight you. Share your vision, ask questions, and work together to make your book the best it can be.
How should authors view the editor’s role?
Thomas: Some authors see themselves as lowly peasants and the editor as an all-powerful lord who can banish them to the desert, forcing them to obey every whim. That’s the wrong mentality, and those who adopt it risk losing their voice as an author.
Erin: Absolutely, that falls under the author’s job of protecting their vision. You don’t want to reach the end of the process feeling like your book has been stripped away. That’s not the goal.
There is a flip side to that, though. When I was a young editor, I lacked the maturity to fully understand the goals. I sometimes overstepped, trying to shape a book into what I would have written. That was misguided and a function of inexperience. If you feel your editor isn’t catching or respecting your vision, don’t be afraid to address it.
What if the author-editor relationship isn’t working?
Jim: Indie authors need to remember they’re hiring the editor. The editor is essentially your employee. If communication isn’t working, you can say, “I’m sorry this isn’t working. Let me pay you for your time, but I need to work with someone else.” That’s why I suggest hiring two or three editors to start. Ask them to edit a few pages to see how you work together.
An editor should be a guide saying, “Let’s go on this adventure together.” Erin, you’re marvelous at suggesting, “Jim, what if we tried this?” instead of demanding, “This has to change.” That collaborative feel is so different from someone dictating terms. When hiring, look for the kind of relationship that maximizes the book. Editors want to be proud to say they worked on your book, not dodge the question.
How can authors test the relationship and fit?
Thomas: I completely agree with testing editors. For my books, I hired about six editors and gave them all one chapter to edit. It’s critical to give the same sample to each editor so you can make an apples-to-apples comparison. If you give some chapter one and others chapter two, chapter two might be less polished, so those editors seem harsher when they’re merely finding more issues. Testing also shows you the editor’s style and strengths. Some excel at developmental editing, honing ideas, and ensuring clarity. Others are better at catching every comma in proofreading. You need specific feedback, not just, “Oh, it’s good.”
Erin: That’s a great point. Don’t expect one editor to handle all phases of editing. Different eyes are needed for different tasks, as each pass makes it harder for the same editor to spot issues. As you move from developmental editing to copyediting and proofreading, fresh perspectives catch more. Hire editors for specific tasks.
What are the different types of editing?
Erin: Broadly, there are four main types of editing:
- Developmental editing: This is where someone helps with the writing process or critiques major components like plot, characters, setting, and themes from a 30,000-foot view.
- Line editing: A hands-on edit that refines big-picture issues, focusing on gaps, transitions, and organization.
- Copyediting: Ensures consistency, proper grammar, and clarity while aligning with a style guide.
- Proofreading: Catches typos and formatting errors, typically after the book is typeset.
Proofreading doesn’t happen in Microsoft Word. It’s usually done on a PDF. It’s the final step before the book goes to press. In traditional publishing, they might hire three proofreaders for one manuscript because editors can introduce errors every time they touch the keyboard, so thorough proofreading is crucial. Take the time to do it right.
How can authors learn from their editors?
Thomas: Asking “why” is powerful. If you’re traditionally published, working with an editor is like getting free tutoring. Ask your editor, “Why did you make this change?” Their explanation will help you understand the reasoning, and you might avoid that mistake in the future. You’re learning from someone with potentially decades of experience.
Erin: That’s also a good test of your editor’s work. My policy is if I can’t justify an edit when an author asks, I shouldn’t make the change. If you ask, “Why did you do that?” and the answer is, “I just thought it sounded better,” that’s usually not valid. You want a clear reason, like, “This was passive voice, so I switched it to active.”
How do you find a great editor?
Erin: The best way is word-of-mouth referrals from people who’ve had good experiences with editors. You can also use online platforms like the Editorial Freelancers Association, where you post your job, and editors bid on it. The online space is sophisticated now. Many editors have websites detailing their experience and the types of books they work on. Check those out, interview them, and ask them to edit a chapter to see if they’re a good fit.
How much does friendship or aligned personalities contribute to a great novel?
Erin: Mutual respect is more important than whether your personalities click. Even more than personalities, I’d say it’s about whether your creative processes align. Does your editor’s approach energize, educate, and inspire you to raise the bar, or do you dread interacting?
I’m adaptable to different personalities. Some writers prefer phone calls over written feedback, while others want everything via email or marked-up manuscripts. I adjust to their process. Respect and honoring each other’s creative process matter most. When you also have fun and enjoy each other’s company, that’s just icing on the cake.
Does genre influence your editing preferences?
Jim: Are there certain genres you like working on more than others? How much does genre play into it?
Erin: I can offer authors a lot of experience editing speculative fiction, supernatural, readers, suspense, and any fast-paced thriller novel. Those are my sweet spot. I’m not awesome at editing romance, but many other editors are. So you can find that out by just asking, “What kinds of books do you edit?” When editing fiction, there are a lot of principles that apply across the board. However, it’s important that your editor understands the conventions of your genre so that readers feel satisfied by the book.
How important is understanding the target audience?
Thomas: For nonfiction, one thing I look for in an editor is an understanding of the target audience the nonfiction book is targeting, especially at the developmental stage.
After I had my editor options, I picked the one who was a millennial for my developmental edit because my book was targeting millennials. I made some references that I knew would not make sense to non-millennial editors. At one point, I was talking about swiping left and swiping right, and every single boomer editor asked, “What is this?” They all marked it. I knew my audience would know exactly what it meant.
My copy editor was not a millennial. He was an elderly gentleman, brilliant at the usage of the English language. He was able to do great things with the sentences. I needed him on a sentence level, not for the cultural references and tone.
I think understanding the audience is more important for nonfiction. For fiction, it’s more about the genre and expectations within the genre. For nonfiction, it’s more about who you’re targeting with the audience.
Erin: I agree. I would add that fiction is a very craft-driven form of creativity. There are a lot of tools, principles, and techniques we apply to story to create the effects we’re after. You don’t use those as much in nonfiction, except maybe in memoir. Memoir is pretty close to fiction. You’re editing with different tools in your toolbox, but your goals are the same in terms of bridging that gap between the book and the reader. That’s always the goal.
Why is specialization important for editors?
Thomas: Great editors are very clear about what they’re good at and what they’re not good at. When you’re interviewing editors, if they tell you, “I can edit anything,” that is a red flag. It indicates they don’t know what their strengths are, and they don’t know what their weaknesses are.
Erin: I think some people feel pressured to say that because, on some level, it’s true. Editors have to be a “jack of all trades.” But it does help for an editor to say, “Well, I can do this, but I’d be better at this.” I don’t do copy editing for people. I just say, “That is not my sweet spot. You will get a better job done for less money with someone else. Let me help you find that person.”
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Oh my gosh this is a fantastic episode. Miss Erin divulged valuable insights into the editing process. I love it and is exactly what I didn’t realize I needed to know. So one question for any or all of you: is it okay to ask for a certain or preferred type of editing feedback? For example, I find it difficult to read and understand comments made in a word doc and much prefer highlighting and inserted comments within the text at appropriate points. Is something like that too much to ask of an editor? Thanks