Almost every author who contacts us asks some version of the same question: “What kind of editing do I need?” It matters more than it seems. Hire the wrong edit and you pay to polish sentences in chapters that should be cut, or you pay for a structural critique when all you needed was a clean proofread.
There are four main types of editing. They work at different depths, and they work best in a particular order.
1. Developmental editing: is the book working?
A developmental edit looks at the whole manuscript before anyone worries about commas. The editor asks big questions. Is the central conflict clear, and does it hold for the length of the book? Do characters change for reasons a reader can follow? Does the middle sag? Is the ending earned?
You usually receive an editorial letter, often several thousand words, plus margin notes. Expect suggestions like cutting a subplot, merging two characters, moving a reveal earlier, or rethinking the opening chapter entirely.
You need it if: this is your first or second book, beta readers lost interest partway through, agents passed without requesting pages, or you suspect something is wrong but can’t name it.
2. Line editing: is every sentence pulling its weight?
Once the structure holds, a line editor works paragraph by paragraph. The focus is voice, rhythm, clarity and flow. They tighten flabby sentences, flag repeated words and tics, smooth awkward transitions, and make sure the prose sounds like you on your best day.
You need it if: the story works but the writing feels flat, wordy or uneven, or readers say it “drags” without pointing to a plot problem.
3. Copyediting: is it correct and consistent?
A copyeditor checks grammar, punctuation, spelling, usage and consistency. Is the character’s eye colour the same in chapter 3 and chapter 19? Is it “email” or “e-mail” throughout? Are numbers styled the same way? Most copyeditors work to a style guide such as The Chicago Manual of Style and build a style sheet for your book.
You need it if: you plan to publish. Every book needs a copyedit, whatever else it gets.
4. Proofreading: the last line of defence
Proofreading happens after the book is formatted. The proofreader catches what slipped through: typos, missing words, bad line breaks, widows and orphans, wrong page numbers in the table of contents. It is not a substitute for copyediting. A proofreader who finds heavy errors is a sign an earlier stage was skipped.
You need it if: your book is typeset and nearly ready to upload or print.
Why the order matters
Editing from the outside in saves money. A line edit on a chapter that a developmental edit later cuts is wasted spend. A copyedit before a structural rewrite has to be redone.
| Stage | Works on | Typical output | When |
|---|---|---|---|
| Developmental | Story, structure, character | Editorial letter + margin notes | After a complete, revised draft |
| Line | Sentences and paragraphs | Tracked changes throughout | After structure is settled |
| Copyedit | Grammar, consistency, style | Tracked changes + style sheet | Before formatting |
| Proofread | Typos and layout errors | Marked-up proofs | After formatting |
Can you combine stages?
Some editors offer a combined line and copy edit, and for a strong manuscript that can work well. What rarely works is collapsing a developmental edit into anything else. Big-picture thinking and sentence-level attention pull an editor’s focus in opposite directions.
Not sure where your manuscript stands?
That uncertainty is normal, and it is why we built our Manuscript Assessment. It scores your draft and shows where the main weaknesses sit, structural or sentence-level, before you commit to a full edit. If you are still at the idea stage, the Story Diagnosis Tool checks your premise first.
When you are ready for an editor, our Editorial Services cover every stage above. Tell us where you are, and we will tell you honestly which edit you need, even if it is a smaller one than you expected.
