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 this is common 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 be a poor match for the editor.

But let me clarify one thing: most clients aren’t out to disrespect or cheat editors. Red flags often arise from inexperience – or a fear of being scammed. That said, a small number of clients do have questionable ethics or unreasonable expectations, in which we need to exercise due caution.

So if you’re wondering if your project might be deterring an editor, below are some red flags that can 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 address language errors, but if there are big-picture issues, readers will notice – and you’re doing your book an injustice if you don't fix them. I’m not a developmental editor, so this isn’t a service I offer. Unless they're minor structural issues, I usually recommend going to a specialist first and coming back to me later.

A manuscript may also be declined if it hasn't been self-edited. In other words, if it's full of language errors, omissions or repetitions. This means the book will require a heavy edit, 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 obvious 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 prove to be an uphill battle, which isn't fun for anyone.

If you find feedback confronting, pause before commenting. Consider the edit carefully (and the editor’s rationale). Does the edit provide more clarity, avoid repetition or improve the writing in some way? More importantly, have you learnt something new? If so, accept that edit and challenge more subjective or stylistic 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, you may be using jargon in a book intended for a general audience, or writing a true crime book that needs more narrative elements to engage die-hard crime buffs. An editor can help you with both and ensure that you're meeting the reader's expectations.

In general, 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 write accordingly.

Red flag 4: Service 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 about the level of intervention required. They’re too familiar with their work and may underestimate its errors. Editors, however, come to it fresh, and they're trained to see things authors don’t. So if an author insists on a service that doesn’t align with the book’s needs, editors won't be able to do their best work.

To avoid this scenario, research the different levels of editing and what's involved (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 timelines

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, errors are likely to slip through.

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 notice!

Red flag 6: Low budgets

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 go AWOL after the manuscript is delivered, at least we have a deposit to cover 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

Editors can't provide the right service if they're not properly briefed. If a client takes weeks to respond to an email, sends mixed messages or doesn’t express their needs 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've got a lot going on, defer the edit until you have time to dedicate to it. Editors like to work intensively on a project. This helps them 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. And 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 just 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 it didn't run smoothly

If editors have worked with a client who was disorganised, slow with payment or a poor communicator, they're unlikely to work with them again.

The beauty of being a freelancer (as opposed to working in-house) is that we can choose our projects and avoid the ones that cause anxiety.

So if a previously difficult client returns, we often say we're busy or not the right fit. Some may be more open about the reason, depending on their personality and communication style.

To be fair, some clients may not be repeat offenders. Perhaps they've acquired more knowledge, experience, time and money, but most of us are likely to decline based on past experience.

Takeaways: 9 red flags that make editors decline a project 

It’s not unusual for editors to vet clients for red flags. 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 client red flags are a result of inexperience, but they can be addressed through education, organisation and time, which means your project could go from red to 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.