9 red flags that make editors decline a project

Turning down an editing project is never easy. It often means losing income or jeopardising a client relationship. But it's not unusual when we’re overbooked or a project doesn’t match our skill set.

But what about projects that might be problematic for other reasons, such as poor communication, budget constraints or unrealistic deadlines? These things fall into ‘red flag’ territory. In other words, situations that can adversely affect an editor’s business or mental health.

But let me get one thing straight: most authors aren’t out to disrespect or cheat editors. Red flags often arise out of inexperience – or a fear of being scammed. That said, a small proportion of clients may have questionable ethics or unreasonable expectations, in which case our caution is justified.

So if you’re wondering if your project might be deterring an editor, below are some red flags that make editors decline a project.

Red flag 1: The manuscript isn’t ready

This is one of the most common reasons why I reject projects (particularly if they come from self-publishing authors). After reviewing a sample, I often find structural or content issues that need to be addressed before it's ready for a copyedit.

Sure, I can fix language errors, but if there are big-picture issues, readers will notice – and you’re doing your book an injustice. I’m not a developmental editor, so this isn’t something I can address. You’re better off approaching a specialist first and coming back to me later.

I’ve also encountered manuscripts that haven’t been self-edited. This means they require heavy intervention, which can be expensive and time-consuming – not to mention harrowing for the author (all those corrections!). You’re better off doing a few self-editing rounds to weed out major issues (see How to Self-Edit Your Non-Fiction Book for more guidance).

Red flag 2: The author resists feedback

In most cases, I provide a sample edit for prospective authors. This helps them get a sense of how I work, and I get a sense of how much intervention is required. If the author dismisses most of the edits and sees editing as validation and not collaboration, this is definitely a red flag.

Of course, authors aren’t going to agree with everything I suggest. That’s normal. In fact, preliminary feedback helps me tailor the edit to their needs. But if they challenge every comma and full stop, it tells me they don’t trust my judgement or expertise. As a result, the edit may be more difficult than it should be.

If you find feedback confronting, pause before commenting. Consider the edit carefully (and the editor’s rationale, which is often included). Does it provide more clarity, avoid repetition or improve the writing in some way? More importantly, have you learnt something new? If so, accept the edit and challenge more subjective edits.

Red flag 3: Unclear audience or purpose

Editors will always ask you who your target audience is. This helps us tailor the edit to the reader’s needs. For example, are you using jargon in a book intended for a general audience? Or perhaps you’re writing a true crime book that needs more narrative elements to engage your ideal readers? An editor can help you with both and ensure your reader is being served.

If you can’t articulate your book’s audience or purpose, we can’t make the right recommendations. Before approaching an editor (or, for that matter, writing your book), have a clear goal and reader. Sure, some books may have a ‘broad’ audience, but you still need to know where your book would sit in a bookshop and pitch your book accordingly.

Red flag 4: Scope mismatch

This is all too common: not knowing the type of editing you require. In the past, I’ve been approached by authors who wanted a proofread, but what they really needed was a copyedit.

Unfortunately, it’s hard for authors to be objective. They’re too familiar with their work and may underestimate its errors. Editors, on the other hand, are trained to see things authors don’t. So if an author insists on a service that doesn’t align with the book’s needs –  and ignores the editor’s recommendation – editors won’t be able to do their best work.

To avoid this scenario, research the different levels of editing (check out Copyediting vs. proofreading: What’s the difference?). If you’re still unsure, ask for a sample edit or a manuscript appraisal. This will help you choose the service best suited to your needs.

Red flag 5: Unrealistic timeline

Authors usually take months or years to write a book, but when it comes to editing, many assume it can be done in a few days or a week. This couldn’t be further from the truth.

Depending on the book’s length and complexity, a book can take weeks or even months to edit. For more on editing timelines, see How long does it take to edit a book?

If an author is rushing the process, an editor can’t do their best work. Edits take time and often require multiple passes. If an edit is done quickly, you’re more likely to find errors.

Have an honest chat with your editor about the most realistic timeline. Remember, they’ve done this before. Defer any conference presentations and book launches until you can sell a book you’re proud of, not one that was rushed to print. Readers will notice!

Red flag 6: Low budget

Editors are trained professionals, so it often surprises me when clients ask for discounts (often hefty ones) because they’ve got a limited budget.

When authors request a discount, it devalues our work and the work of other editors. We need to make ends meet too, and our fees need to cover taxes, sick/annual leave and running costs, among other things.

What’s more, like any other service, editing involves training, time and expertise, so we often charge industry rates (or thereabouts). For current rates in Australia, see the IPEd website. You’ll find similar pages on the CIEP website and the Editorial Freelancers Association website. This will give you an idea of what standard rates are and whether your editor is charging a reasonable fee.

Another red flag is an author who refuses to pay a deposit (or even the full fee) in advance. It suggests they’re not serious about the job or trying to get free editing. If they disappear after the manuscript is delivered, at least we have a deposit to recompense us for some of our time.

Of course, some authors may be worried about scammers taking their money and not delivering. The best way to avoid this is to check the credentials of your editor. Choose someone from an editorial association directory (they always get vetted!) or who has a legitimate website and social media presence.

Red flag 7: Poor communication

You can tell if an author has poor communication skills when they first reach out to you. If they take ages to respond, send mixed messages or don’t communicate clearly, it means the editing project may not run smoothly.

Editors want to work with clients who are prompt, decisive and clear about their expectations. This ensures we meet the needs of your project.

If you're busy or travelling, defer the edit until you have the bandwidth and time to dedicate to it. Editors like to work intensively on a project. This allows them to stay immersed and bring out the best in your manuscript. Feedback that takes weeks or months means they’re no longer in the zone, or busy with other projects, which can delay completion of the project.

Red flag 8: Ethical issues

From time to time, editors come across a manuscript that contains graphic content, plagiarism, questionable claims, harmful messaging or AI-generated content. In those cases, editors often flag the issues and ask the author to address them before the edit begins.

Authors who choose to ignore that advice may not be accepted as clients. Editors have standards too. Some may find explicit violence triggering. Others may find AI-generated copy soulless and hard to edit. Others still may find racial stereotyping problematic. Whatever the reason, it’s the editor’s prerogative to say no to these projects.

Of course, some editors have no such qualms, and they’re happy to edit anything that comes their way. That’s fine. But if an editor refuses your book based on an ethical concern, don’t take it personally. They're not the right fit.

For more on my own editorial boundaries, see 9 reasons why I’m not the right editor for you.

Red flag 9: The editor worked with the client before and experienced one or more red flags

This red flag comes up from time to time. Maybe we worked with a client who was disorganised, difficult or a poor communicator. Or maybe they didn’t pay their invoice on time.

Whatever the reason, editors are often reluctant to work with these clients again. The beauty of being a freelancer (as opposed to working in-house) is that we can choose our projects, avoiding the ones that cause hardship or angst.

In this instance, most editors don’t cite the real reason they declined: they just say they’re busy or not the right fit. Some may be more honest about it, depending on their personality and communication style.  

To be fair, some clients may not be repeat offenders. Perhaps they’ve got more experience, time and money, but most editors are likely to decline based on past experience.

Takeaways: Red Flags That Make Editors Decline a Project 

It’s not unusual for editors to vet clients, and identifying red flags is one way of doing it. Whether it’s a low budget, an unrealistic timeline, communication issues or ethical concerns, editors reserve the right to decline a project that doesn’t meet their business goals or values.

Of course, many of these red flags are a result of inexperience, but authors can address these through education, organisation and time. That means your project could go from flashing red to flashing green in no time at all!

Looking for a non-fiction editor to sharpen your writing and remove niggly errors? Send me an email or request a sample edit.