I agree with *Ktwithay, though not necessarily for the same reasons (though theirs and mine are not mutually exclusive).
If your daughter wants to be an editor, it's essential that they have good 'soft' skills - interpersonal, negotiating, diplomatic. Anything that she can do to show how she's been developing these will help her. Ditto anything to do with organisational skills. They are crucial.
An editor does not just spend time discussing the finer points of a manuscript with a literary author. (OK, that's a caricature, but the point is valid). As an editor, she'd be at the centre of quite a complex web of important arrangements and delicate feelings. A great many people will rely on her to make things happen on budget and - vitally, vitally important - according to schedule. She'll almost certainly at some stage have to deal with an author who - just for instance - might have fallen down stairs and broken a leg or be suffering from severe pregnancy sickness and who is - for valid reasons, from their point of view - unable to deliver the text on time. And a few - just a few (because unless they ate brilliant they don't get asked back that often) very talented writers and illustrators just seem totally incapable of sticking to deadlines.....
At the same time, the production department will be chasing the manuscript, because the overseas print and shipping deals they have in place - and which might have been booked well before the author had even signed the contract - can't easily be changed. Ditto the shipping and warehousing. At the same time, the designer and illustrator and maybe copy editor and proof-reader - all freelancers - will have 'booked in' in advance a timeslot for their work on the project. If they don't work then because the manuscript is delayed they won't earn and will be annoyed; and they will probably have other important work that they've arranged to be done further down the line, so that an editor asking them to fit in a delayed project will cause them stress at the best and might often find it impossible.
All this will be compounded by around 10% if an author's agent gets involved, and by around a million percent if TV or film production companies ditto. (In my experience, the bigger and better the company the less fuss; the ones that cause the most bother are minor TV companies with z list celebrities - but I digress.)
There will also be complaints to the editor from the sales and publicity people if any part of a schedule is disrupted.. At least 25% of most publishing companies' sales happen in just the few weeks before Christmas. If an editor can't get their author/illustrator/designer/photographer and other freelancers organised to get the 'product' on the shelves by that time, then the sales and publicity people will be pretty cross. So will their retailer 'customers' - who will have demanded quite hefty sums, in advance, from publishers to put chosen titles on their 'best seller' shelves. if those books don't appear, the publishing company makes a big loss.
In my experience, a good editor is someone who combines a feeling for words with really good personal and negotiating skills AND who also has the ability to (a) be pretty tough and (b) be clever, creative and flexible and really good at problem-solving when it comes to matters organisational.
Remember, publisers might love books (most genuinely do) but a vanishing few of them are NOT also in the business to make money. They need cash flow to finance new projects; a few of those can be for 'merit' (however defined) but the majority simply have to make money, in order to finance the next round of books.
Also, as others have said, publishing wages are very, very low. Just compare them with civil service or even teaching for the same experience and responsibility. And, unlike those, there is absolutely no standardised programme of promotion and advancement. An editor is as good as their most recent projects, and is paid accordingly.