James Puckett

You should start by testing everything with an expansive set of proofs. If you don’t have proofs you can download mine: https://github.com/DunwichType/DTF_Proofs/tree/master/Latin

Make sure you review the diacriticals thoroughly. If you find no errors you weren’t paying attention and need to look again. If you need to compare against another font use GlyphProofer from Ben Kiel and House Industries: https://github.com/houseind/robothon
Don’t compare against a massive font like Noto or Brill. Typotheque, Typofonderie, H&FJ, Darden Studio, Commercial Type, and Underware are just a few of the great foundries to compare to. (There's nothing wrong with the Brill fonts, but using them with Glyphproofer with generate hundreds of unnecessary pages.)

Build your own proofs to test OpenType features.

Open your compiled fonts and review every single glyph in every single font for things like incorrect sidebearings or interpolation errors. If you find no errors you weren’t paying attention and need to look again. 

Test with the other popular Adobe apps: Photoshop and Illustrator. Look for problems with font names and how they appear in menus. Then play around a little to make sure that stuff like OpenType features work.

Install the fonts on Windows. Copy/paste the test strings from for Indesign files into Textedit and save as rich text. Make sure they at least work in Wordpad. If you have Office for Windows test in Word and Powerpoint.

Now go back to your Mac and check the fonts with Font Book. If you get no errors then install them. Test the fonts in Textedit, and if you have Office for Mac, test there too.

You should ask the Robofont forum if there are any common problems or mistakes people make. I don’t use Robofont so I don’t know about that (but I’ve never heard Robofont users complain. I rarely have issues with Latin fonts generated with the stable release of Glyphs. I only compile final fonts with the betas if Georg tells me to.

I like it. R is still overly heavy. Don’t be afraid to reduce the left stroke weight to make it work. I agree with Rafael about the T looking weak. I’ve got a wonderfully unfinished typeface collecting digital dust for the same reason. Caryle and Oring handled this by adding weight to serifs that attach to the light stems:

I'm working on a essay and/or talk about proofing and revising in the type design process. If you're interested in talking about your process or sharing images, please get in touch with me.

Resellers deserve a hefty cut if they offer a contract with good terms. But fifty percent is too much to give up of the contract is terribly one-sided in favor of the reseller.