I've talked on this blog before about how much I love editors. Sure, I use the word as a grave insult at times, but I love them. ("You're an idiot." "Oh, yeah? Well, you're an editor!")Every author and every book need an editor. Again, money's usually an issue for indie authors, especially new ones, but hire an editor. And just because someone says s/he's an editor, don't take her/his word for it. Check them out. Talk to previous clients. Read previous clients' books. If you spot problems in those books, then maybe that editor isn't for you.
An editor's job is to make a book better. (I'll stick with she because, while I know there are male editors out there, I've never actually seen one.) She's supposed to catch when your characters are acting out of character, when your plot is full of coincidences, when stuff doesn't make sense, when you could drive a Mack truck through the holes, when the conflict is insufficient and when the ending is too rushed or unsatisfying.
Editing is a talent.Editing is a talent.
Not just anyone who wants to be an editor can be. So her friends tell her she's a good critiquer. Well, my friends tell me that, too, but I'd be a lousy editor. I've got some strengths, but I've got more weaknesses. My writers' group of seventeen or so professional authors, all combined, could make two, probably three good editors.A bad editor, granted, is worse than no editor at all. But that's where your powers for research come into play: you not only have to find an editor who gets your voice and your story, but she's got to have that editing talent, too. To quote my indie-pubbed friend M. A. Golla, easy-peasy, right?
(The above is my thoughts as a reader in what I'm looking for in indie-published books.)