Which Type Of Editing Does Your Manuscript Need?

Gary Smailes | 17 November 2025

Assess Your Manuscript: A Self-Diagnostic

Your manuscript hurts somewhere. The trick is finding where.

Skip the guesswork. You need a system to spot the difference between a structural crack and surface rust. The wrong diagnosis wastes money and months. The right one gets you published faster.

Read the symptoms, not the pain

Start with what readers say when they stumble. Their complaints map to specific editorial fixes.

Big-picture symptoms point to developmental editing

• "I got lost in the middle." Translation: sagging structure, weak momentum.
• "I don't understand why this matters." Translation: unclear stakes or thesis.
• "The characters feel flat." Translation: weak motivation, thin character arcs.
• "The timeline jumps around." Translation: confused chronology or poor transitions between scenes.
• "I'm not sure who this book is for." Translation: audience mismatch, tone problems.
• "The ending came out of nowhere." Translation: inadequate setup, rushed resolution.

These hurt at the foundation level. Fixing grammar on a wobbly plot wastes everyone's time.

Sentence-level symptoms point to line editing

• "The writing feels stiff." Translation: unnatural rhythm, awkward word choices.
• "Some parts drag, others rush." Translation: pacing problems in prose, not plot.
• "The voice shifts between chapters." Translation: inconsistent tone and register.
• "I had to reread sentences." Translation: unclear phrasing, tangled syntax.
• "The dialogue sounds wooden." Translation: ear problems, not character problems.
• "Too much telling, not enough showing." Translation: weak interiority, filter words.

The story works, but the sentences fight the reader. Line editing smooths the ride.

Mechanical symptoms point to copyediting

• "Lots of typos and grammar mistakes." Translation: surface errors, consistency gaps.
• "Character names spelled differently." Translation: style sheet needed.
• "Some numbers written out, others as digits." Translation: no house style applied.
• "Punctuation seems random." Translation: needs a style guide and trained eye.
• "Capitalization varies." Translation: inconsistent rules throughout.
• "References don't match up." Translation: fact-checking and cross-reference review needed.

The prose reads well, but errors undermine credibility. Polish before you publish.

Layout symptoms point to proofreading

• "Page numbers jump around." Translation: typesetting glitch.
• "Headers repeat the wrong chapter." Translation: design file error.
• "Weird spacing around quotes." Translation: formatting bug.
• "Table of contents doesn't match chapter titles." Translation: final sync needed.
• "Orphan lines at page tops." Translation: bad breaks in layout.
• "Hyperlinks don't work." Translation: digital file corruption.

These only show up after typesetting. You need designed pages to spot and fix them.

The print-and-read diagnostic

Here's your field test. Print twenty pages from three sections: opening, middle, end. Not your best pages. Not your worst. Your most typical pages.

Read them aloud. Yes, aloud.

Mark every place you stumble. Use four colors or symbols:

• Red: Structure problems. Confusion about what happens, why it matters, or how scenes connect.
• Blue: Style problems. Clunky sentences, awkward phrases, flat dialogue, pacing hitches.
• Green: Mechanics problems. Grammar slips, punctuation errors, inconsistent spelling or formatting.
• Purple: Layout problems. Only relevant if you're reading designed pages.

Count the marks. Whichever color dominates tells you where to start.

Heavy red marks? Developmental edit first.

Heavy blue marks? Line edit after structure settles.

Heavy green marks? Copyedit when prose works.

Heavy purple marks? Proofread designed files only.

The beta reader reality check

Your eye skips problems your brain expects. Fresh eyes catch what you miss.

Find three beta readers willing to give specific feedback. Not friends who say "looks good." Readers who'll tell you where they got confused, bored, or annoyed.

Ask targeted questions, not general ones.

For developmental feedback:

• Where did you lose track of the main character's goal?
• Which scenes felt unnecessary or repetitive?
• When did you consider putting the book down?
• What confused you about the timeline or setting?
• Which character motivations felt unclear?

For line-level feedback:

• Which paragraphs made you reread for clarity?
• Where did the voice feel inconsistent or artificial?
• Which dialogue exchanges felt stilted?
• When did the pacing feel too fast or too slow?
• Which descriptions felt overwritten or underwritten?

For copyediting feedback:

• Circle any grammar, spelling, or punctuation errors you spot.
• Mark inconsistencies in names, places, or formatting.
• Note any facts that seem wrong or unclear.

Skip questions like "What did you think?" You'll get useless praise or vague complaints. Specific problems have specific fixes.

Map the damage

Collect your print diagnostic and beta feedback. Look for patterns.

If two beta readers got confused in Chapter 7, and your printed pages from that section earned red marks, you found a structural problem. If beta readers sailed through the plot but marked clunky sentences, and your printout earned blue marks, you need line editing.

Most manuscripts hurt in multiple places. Start with the deepest cut and work toward the surface. Structure, then style, then mechanics, then final proof.

Quick triage for common scenarios

The "everyone loves it but no one finishes it" manuscript: Developmental editing. Great concept, weak execution. Beta readers start strong, then drift away in the middle.

The "story works but reading feels like homework" manuscript: Line editing. Plot and characters hold up. Sentences bog down. Readers finish but complain about the effort.

The "reads well but looks unprofessional" manuscript: Copyediting. Voice lands, story flows, but errors pile up. Readers notice typos and inconsistencies.

The "formatted files with lingering problems" manuscript: Proofreading. Everything else works. You need final quality control on designed pages.

Before you book anything

Run this diagnostic twice. Once on your current draft. Once after each major revision.

The symptoms shift as you fix layers. A developmental edit solves plot problems but exposes line-level issues. A line edit polishes prose but reveals mechanical inconsistencies. Each stage prepares the next.

Trust the pattern, not your gut. Your gut knows too much about what you meant to write. The diagnostic reveals what you wrote.

Start where the pain lives. Fix the foundation before you paint the walls.

What Each Editing Stage Fixes (and What It Doesn’t)

You do not need every edit. You need the right one. Think of four toolkits. Each solves a different problem. Ask a proofreader to fix pacing, you will get tidy pages and the same sag.

Developmental editing

Scope: plot or argument, pacing, character arcs, chapter order, theme, audience fit.

This is blueprint work. A developmental edit tells you where the story loses power, where the argument drifts, and where readers stop caring. Expect a big-picture conversation and a plan.

What it fixes:

• Structure. Reorders chapters, trims or expands sections, and spots missing beats.
• Stakes and focus. Clarifies what the protagonist wants or what the thesis promises.
• Character arcs. Strengthens motivation and payoff.
• Audience fit. Aligns voice, scope, and promise with reader expectations.

What it does not fix:

• Grammar and punctuation.
• Sentence polish.

A quick example:

• Before: Chapter 3 repeats Chapter 1’s conflict. The midpoint arrives on page 210, then the ending rushes.
• After: Combine Chapters 1 and 3. Plant a stronger goal in Chapter 2. Move the midpoint to page 150 with a hard choice. Add a setup scene for the ending in Chapter 9.

Deliverable to expect: an editorial letter with a map of issues and priorities, plus margin notes on representative pages.

Mini exercise: Write a one-sentence summary for each chapter. If you struggle to name a change in stakes or knowledge, the scene lacks purpose. Add purpose or cut.

Line editing

Scope: voice, rhythm, word choice, imagery, interiority, transitions.

This is how the story reads on the page. The plot works, yet reading feels like walking through wet sand. A line edit tunes cadence and clarity without tearing down structure.

What it fixes:

• Wordy or tangled syntax.
• Flat or inconsistent voice.
• Wooden dialogue and weak interiority.
• Clunky transitions between paragraphs and scenes.

What it does not fix:

• Plot holes or missing chapters.
• Research gaps.

A quick example:

• Before: “Due to the fact she was late, she proceeded to quickly walk down the hallway, which was very long and extremely quiet.”
• After: “Late, she hurried down the long, quiet hallway.”

Another:

• Before: “He felt angry, and he was thinking that no one understood him.”
• After: “Anger burned. No one understood him.”

Deliverable to expect: tracked line edits with comments on choices, plus a short summary of global style notes.

Mini exercise: Read a page aloud. Mark every spot where you run out of breath or trip. Shorten or recast those lines.

Copyediting

Scope: grammar, punctuation, usage, and consistency guided by a style manual such as Chicago.

This is quality control for language. Copyediting protects clarity and credibility while preserving voice.

What it fixes:

• Typos, agreement errors, and punctuation mistakes.
• Consistency for capitalization, numerals, and hyphenation.
• Word list decisions. Email or e-mail. OK or OK’d or okay.
• Basic fact flags and cross-references.

What it does not fix:

• Sagging scenes.
• Voice problems or overwriting.

A quick example of choices a copyeditor will surface:

• Serial comma policy.
• Numerals. Ten vs. 10. Page 5 or page five.
• Hyphens. High school student vs. high-school student.
• Spelling set. Toward vs. towards. Adviser vs. advisor.
• Character names and terms. Jon or John. Wifi or Wi-Fi.

Deliverables to expect: a clean file with tracked corrections and a style sheet. The style sheet records decisions for spelling, punctuation, numerals, names, and special terms, plus notes on tone.

Mini exercise: Build a simple style sheet now. List names, places, preferred spellings, numerals rules, and any recurring phrasing you want to keep.

Proofreading

Scope: final check on designed pages after typesetting, in PDF or print proofs.

This pass maps to layout and last-mile errors. Proofreading is not revision time. Text should be stable.

What it fixes:

• Typos missed earlier.
• Bad line breaks, widows, and orphans.
• Wrong headers or footers.
• Table of contents mismatches.
• Figure numbers, captions, and cross-references.
• Ebooks and audio scripts. Broken links, mis-tagged headings, pronunciation notes.

What it does not fix:

• Paragraph rewrites.
• Chapter moves.

A quick example:

• Before: Running head says “Chapter 12” over Chapter 21. A subhead splits across a page with a single word stranded at the top.
• After: Corrected running head. Adjusted break to keep heading with first paragraph.

Deliverable to expect: marked proofs, either digital annotations or traditional proof marks, plus a list of recurring layout issues for the typesetter.

Which fix fits your problem

Match the pain to the stage.

• Readers feel lost or bored. Choose a developmental edit or a manuscript assessment.
• Readers follow the story yet reading feels effortful. Choose a line edit.
• Prose reads smoothly yet errors and inconsistencies persist. Choose a copyedit.
• Files are designed and publication is near. Schedule proofreading on those pages.

A quick story from the trenches: an author brought a 95,000-word thriller for copyediting. Clean sentences, strong voice, but three beta readers bailed at Chapter 14. We paused the copyedit and ran a short assessment. The midpoint twist lacked setup. The author cut a subplot, seeded two early clues, and moved a reveal. After revision, the line edit sang. The later copyedit caught the nits. The proofreader found a wrong running head on two pages. Launch day arrived without drama.

Get what you pay for

Before you book, ask for deliverables in writing.

• Developmental edit. Editorial letter with priorities, a chapter map, and next-step guidance. Sample margin notes.
• Line edit. Tracked edits on the full text, a brief memo on voice and rhythm, and queries for author choices.
• Copyedit. Tracked corrections plus a style sheet you keep for future editions.
• Proofread. Marked proofs on designed pages, with all fixes easy to accept or reject in the layout file.

One more filter. If you still plan to cut or rewrite chapters, hold off on copyediting. Money belongs upstream until the structure holds.

Right tool, right time. Fewer headaches, better books.

Choose Your Next Step: A Practical Decision Path

You have a draft. You have notes. Now decide what fix comes first.

When readers are confused

If beta readers ask what happened, why a scene matters, or where the argument goes, move to a developmental edit or a manuscript assessment.

• Developmental edit if you want a full map with chapter order, pacing, and stakes.
• Manuscript assessment if you want a lower‑cost diagnosis before a full rebuild.

Common signs:

• A sagging middle where nothing turns.
• A protagonist who drifts without a clear goal.
• A thesis that slips from chapter to chapter.
• Scenes that repeat the same beat.

Small test:

• Write one sentence for each chapter, naming the change from start to end. If several chapters show no change, structure work sits next.

Quick example:

• Memoir with a caregiving arc. Three readers say the hospital scenes blur together. A developmental pass merges two chapters, adds a clear decision point before surgery, and trims medical detail so the emotional turn leads.

When reading feels like effort

If readers follow events yet feel tired, book a line edit. Structure works. The sentences do not carry their weight.

What you will see a line editor improve:

• Wordy openings trimmed to clean starts.
• Repetitions cut, fresh phrasing added where voice needs lift.
• Dialogue sharpened, interiority clearer.
• Paragraph breaks that guide breath and emphasis.

Small test:

• Read two pages aloud. Mark every stumble and spot where your mouth runs out of air. Those lines want attention.

Quick example:

• Before: “Due to the fact he was anxious, he began to basically start to speak in a way which was kind of slow and unsure.”
• After: “Anxious, he spoke slowly, unsure.”

When errors and inconsistency distract

If prose reads smoothly yet punctuation, capitalization, and spelling shift from page to page, move to a copyedit. This is language accuracy and consistency guided by a style manual such as Chicago.

What a copyeditor fixes:

• Grammar, usage, and punctuation.
• Consistency for capitalization, hyphenation, and numerals.
• Word list decisions, like email or e‑mail, OK or okay.
• Light fact flags and cross‑reference checks.

Small test:

• Scan the first ten pages. Do you use both toward and towards. Is it Wi‑Fi in Chapter 2, wifi in Chapter 8. Do dialogue tags use a period in one place and a comma in another. If yes, copyediting sits next.

When pages are already designed

If a designer has laid out your book, schedule proofreading on the designed files. Work on the final PDF or print proofs, plus ebook files and any audio script.

What a proofreader catches:

• Typos missed earlier.
• Bad line breaks, widows, and orphans.
• Wrong headers and footers.
• Table of contents mismatches.
• Figure numbers and cross‑references that do not align.
• Ebooks, broken links or mis‑tagged headings. Audio, pronunciation notes and awkward line breaks in the script.

Do not plan rewrites here. Text should be stable.

A short sample edit prevents wrong turns

Before you book a full stage, ask for a tiny test from the same editor for each service level you are considering.

How to run it:

1. Pick a representative two pages. Choose a scene with dialogue and exposition, or a page of argument with one citation.
2. Ask for two versions on those pages. One with line edits. One with a copyedit. If you are weighing a developmental path, ask for a brief memo on structure instead.
3. Compare outcomes.
   • The line edit should smooth rhythm and tighten language without sanding off voice.
   • The copyedit should correct errors and standardize choices, with minimal rewrites.
   • The developmental memo should point to stakes, chapter order, and reader promise.

Questions to ask yourself:

• Which sample fixes the problem readers flagged.
• Do the edits respect your tone.
• Do the queries make you think, or push you toward a book you do not want.

If the line sample still leaves readers lost, you need structure work. If the copyedit sample rewrites half your sentences, you asked for the wrong stage or the editor is blurring roles. Reset.

Lock the sequence

Editing stages build on one another. Reverse the order and you pay twice. Keep to this path.

1. Developmental edit or assessment. Revise to completion. Confirm chapter order and stakes.
2. Line edit. Revise again. Protect voice. Tune rhythm.
3. Copyedit. Approve a style sheet. Confirm consistency and correctness.
4. Typeset. Create print and ebook files.
5. Proofread on the designed pages. Fix page‑level errors only.

A cautionary tale:

• An author sent a polished PDF for proofreading. The proofreader flagged a timeline gap in Chapter 6. Fixing it required a new scene. The new text broke layout across four chapters, which required a second proofread after layout fixes. Extra money, extra time. The same timeline fix during a developmental pass would have cost less and avoided rework.

Decision prompts you can answer in five minutes

Pick one from each pair.

• Are readers lost. Or are they bored by slow scenes.
  • Lost points to developmental.
  • Bored points to developmental or line, depending on whether scenes matter.
• Do readers highlight sentences as favorites. Or do they highlight errors.
  • Favorites plus few errors points to proofreading after typeset.
  • Errors and inconsistencies point to copyediting.
• Does your gut say, I plan to cut a chapter. Or, I am done moving pieces.
  • Cut a chapter equals developmental work still in play.
  • Done moving pieces equals line or copyedit.

Write your answer next to each prompt. Your stage will surface.

What to do between stages

• After a developmental edit. Build a revision plan from the editorial letter. List three priorities. Work top down. Do not polish sentences before the structure holds.
• After a line edit. Accept or reject edits with intention. Read each chapter aloud once more.
• After a copyedit. Review the style sheet. Keep it for the proofreader and future editions.
• After typesetting. Print the PDF. Read on paper with a ruler. Mark errors using comments, not rewrites.

Choose the smallest fix that solves the real problem. Then move forward in order. That is how you protect your budget and your sanity.

Budgeting and Scheduling Your Edit

Editing is project management in plain clothes. Money first, schedule second, then discipline to hold the line.

Spend where readers feel it

Developmental and line edits change the reading experience. Structure makes sense, scenes land, sentences carry you forward. Copyediting and proofreading protect reputation, preventing forehead‑slapping errors and layout blips.

A simple rule:

• Pay the most where the reading improves, developmental or line.
• Protect the finish with copyediting and proofreading.

Two quick snapshots:

• 85,000‑word novel with flat midpoint and strong voice. Spend on developmental to fix the spine, then a lighter line pass. Copyedit and proofread safeguard the result.
• 55,000‑word business book with clear structure and fussy citations. Spend on a meticulous copyedit, then a strict proofread. A lighter line pass tunes tone across chapters.

Typical timelines, plus real buffers

Editors book out. Give yourself space.

• Developmental edit, 2 to 6 weeks for the editor, then 4 to 12 weeks for your revision.
• Line edit, 1 to 3 weeks, then 2 to 6 weeks for your polish.
• Copyedit, 1 to 3 weeks, then 1 to 2 weeks to review queries and approve the style sheet.
• Proofreading, 1 week on designed pages, then 2 to 3 days for fixes.

Build a cushion after each round. Double it if a deadline matters. That saves you from rushing revisions or paying rush fees.

What drives rates

Editors price by word, page, or project. The quote follows effort, not vibes.

Expect higher rates when:

• Word count is large.
• Genre demands complex checks, for example epic fantasy maps or legal citations.
• Research density is high, with notes, figures, or appendices.
• Scope includes heavy lifting, multiple rounds, or meetings.
• Sources need cross‑checking, permissions, or back matter building.

Ask for a written scope. Confirm what the fee includes, one pass or two, a phone call or email only, deadline terms, and payment schedule.

A simple budget model

Use a percentage split, then adjust for your manuscript.

• Developmental plus line, 50 percent.
• Copyedit, 35 percent.
• Proofread, 15 percent.
• Add a 10 percent contingency in your total budget for a surprise second pass or rush tweaks.

Example on 80,000 words at a midrange:

• Total editing pot, say 6,000. Developmental plus line, 3,000. Copyedit, 2,100. Proofread, 900. Contingency, 600. If a strong draft needs no full developmental, shift more to line and copyedit.

Mini‑exercise:

• Pick your total budget. Apply the split above. Now read your beta feedback. Move 10 to 15 percent toward the stage that addresses the loudest pain. Freeze the rest.

Schedule backward from launch

Pick a realistic release month. Work backward.

Sample plan for an October release:

• October 1, proofs to printer. Proofreading complete by September 15. Fixes finalized by September 22.
• Typesetting starts August 25, with a first PDF on September 8.
• Copyedit completes by August 10. Author review done by August 17.
• Line edit completes by July 20. Author polish by August 1.
• Developmental edit completes by June 10. Big‑picture revision done by July 10.

See the pattern. Each stage finishes with time for you to review, answer queries, and clean up. Skip those buffers and stress multiplies.

Coordinate with design early

Designers and typesetters keep calendars. Book them while you line up edits. Share word count, trim size, image count, and any tables. Confirm file handoff format, Word or InDesign notes, and proofing plan.

Target three proofing steps on designed pages:

• First pass markup by a proofreader.
• Designer fixes.
• A final spot check by you, no rewrites.

For ebooks and audiobooks, plan extra checks. Epub requires clean styles and links. Audio needs a script and pronunciation notes. Schedule time for those reviews before release.

How to get quotes you trust

• Send a clean sample, 10 to 20 pages from the middle. Add word count, genre, audience, and your goals.
• Ask for two tiers, for example a standard line edit and a heavier option. Compare scope, not only price.
• Request start date and finish date in writing. Ask what happens if either side slips.
• Confirm deliverables, editorial letter, tracked edits, style sheet, marked proofs.

If an editor offers a sample edit, take it. One to two pages show voice protection and query style before you sign.

Keep momentum between stages

Time spent between passes is where projects stall. Set rules and stick to them.

• Developmental to line. Work through the editorial letter in order. No sentence polish until structure holds.
• Line to copyedit. Read aloud once. Accept or reject changes with intention. No new scenes.
• Copyedit to typeset. Answer queries fast. Approve the style sheet. Lock text.
• Typeset to proofread. Do not revise. Flag only errors and layout issues.

Quick checklist

• Choose your spend based on reader impact.
• Build a schedule with buffers after every stage.
• Get a scoped quote with dates and deliverables.
• Allocate budget across stages, keep a contingency.
• Book design early so proofreaders work on final pages.

This plan saves money and nerves. Your future self, the one signing author copies without flinching at a typo, will thank you.

Hiring the Right Book Editor

The right editor strengthens your book and respects your voice. Look for fit, process, and proof. Do not hire on vibe or price alone.

Start with genre fit

Editors swim in specific waters. Romance beats, thriller stakes, hard science notes, kidlit age bands. Each lane has rules and reader habits. An editor who knows those patterns spots gaps fast and keeps you from painful detours.

Quick test:

• Ask for comp titles they have worked on or read deeply.
• Ask what readers in your genre expect by chapter three.
• Ask what mistakes they see often in your lane.

If answers feel vague, keep looking.

See how they work

Process shapes your experience. Get clear before money changes hands.

Ask:

• Tools. Do they use Track Changes and comments in Word or Google Docs.
• Style guides. Chicago, AP, New Hart's Rules, or a house style. Which dictionary.
• Style sheet. Do they build one with names, hyphenation, numbers, and voice rules.
• Feedback format. Editorial letter, margin queries, or both.
• Query rhythm. Weekly check‑ins or questions batched at milestones.
• Scope. One pass or two. Light or heavy. Calls included or email only.
• File handling. Version names. Backup plan.

Ask for a timeline with start and finish dates. Confirm review windows for your side as well.

Verify quality

You want evidence, not assurances.

• Portfolio. Look for books like yours. Read samples on retail sites. Does the prose feel clean and alive.
• Testimonials. Scan for specifics, not fluff. Pacing fixed, voice preserved, zero surprises on delivery.
• Sample edit. One to two pages from your manuscript at the service level you need. Same editor who will do the work.
• Contract. Scope, deliverables, dates, rounds, payment schedule, kill fee, confidentiality.

If an editor will not provide a written scope, move on.

Protect your voice

Strong editors improve clarity without sanding off personality. Test this early.

Send a page where your voice feels most you. In the sample edit, look for:

• Cuts that remove clutter, not soul.
• Recasts that keep your diction and rhythm.
• Comments that ask about intent, not impose theirs.
• Notes on sensitivity where needed, with options offered.

If your narrator speaks in dialect, flag lines you would not change. If your topic uses field‑specific terms, list them. Ask the editor to honor those choices in the style sheet.

Mini‑exercise:

• Take two sample edits from different editors. Read each edit aloud. Which one sounds like you on a clear day. Choose that one.

What to send before a quote

Help the editor see the whole project. You get a better estimate and a smoother start.

Include:

• A one‑paragraph synopsis. Beginning, middle, end. For nonfiction, thesis and argument path.
• Target audience and comp titles.
• Word count and genre. Note any images, tables, or citations.
• Your goals. For example, agent submission, indie release, course adoption.
• Known pain points. For example, timeline slips in the middle, or shakier early chapters.
• Non‑negotiables. Dialect, terminology, point of view, sensitivities.
• Your timeline and hard dates.

Attach 10 to 20 pages from the middle. Clean formatting. Double‑spaced, standard font.

Plan revisions with intention

Editing is a relay. Each pass hands you work. Set a revision plan before the baton lands.

After a developmental edit:

• Read the editorial letter once. Walk away for a day.
• Make a to‑do list in order. Global changes first, scene moves second, new writing last.
• Set a weekly page target. Protect it.

After a line edit:

• Read aloud. Accept or reject each change with purpose.
• Track queries that repeat. Those show habits to fix across the book.

After a copyedit:

• Answer queries quickly. Update the style sheet where rules shift.
• Lock the text. No new scenes.

Red flags to watch

• No sample edit offered for a line or copyedit.
• Contract missing scope, dates, or revision terms.
• Promise to fix everything at every level in one pass.
• Resistance to your non‑negotiables without reason.
• Thin answers on genre questions.
• Vague pricing with no word count in the quote.

Green flags worth noting

• Clear schedule with buffers for your review.
• Style sheet example from a past project.
• Specific feedback on your sample pages, not boilerplate.
• Questions about audience and comps before the quote.
• Notes on how they preserve voice.

A simple outreach template

Subject: Editing inquiry for [Title], [Genre], [Word Count]

Hi [Name],

I'm seeking a [developmental edit, line edit, copyedit] for my [genre] manuscript, [Title], [word count]. Audience is [brief description]. Comps include [two or three titles].

Goals: [agent submission, indie launch in Month, course adoption].

Known needs: [flat midpoint, uneven tone, citation check]. Non‑negotiables: [dialect, terminology, POV].

Timeline: hoping to start [month] and finish by [month]. Pages attached from the middle.

Please share scope, deliverables, dates, fee, and a one‑page sample edit.

Thank you,

[Your name]

Choose with care, then commit. A good editor meets you where you are, pushes where you need it, and leaves the voice yours. That partnership earns its place on your acknowledgments page.

Special Scenarios and Add‑On Services

Sometimes standard editing stages miss your specific need. These targeted services fill gaps or solve problems the main sequence was never designed to handle.

Manuscript assessment: the diagnostic alternative

Think of this as editing triage. You get a roadmap without the full repair job.

A manuscript assessor reads your complete draft and delivers an editorial letter outlining structural issues, character problems, pacing gaps, and market fit concerns. No line‑by‑line edits. No tracked changes. Just a clear diagnosis of what needs fixing and why.

Perfect when:

• Your budget is tight but you need professional eyes on the big picture.
• You want to self‑edit before hiring a developmental editor.
• Beta readers gave conflicting feedback and you need expert perspective.
• You are deciding between major rewrites or smaller fixes.

Typical deliverable: 3 to 8 pages of analysis covering plot, character, structure, voice, and marketability. Some assessors include a revision priority list.

Cost: Usually 30 to 50 percent of a full developmental edit. Turnaround: 1 to 3 weeks.

Warning: An assessment tells you what is broken, not how to fix it. If you struggle with execution, invest in full developmental editing instead.

Book coaching: your editorial sherpa

Coaching bridges the gap between writing and editing. A book coach guides you through drafting, major revisions, or structural overhauls with regular check‑ins and targeted feedback.

This is not therapy or cheerleading. Good coaching combines editorial insight with project management. Your coach helps you plan revisions, set realistic deadlines, and troubleshoot problems as they arise.

Perfect when:

• You are drafting a first book and need structure guidance.
• You have a solid concept but keep stalling on execution.
• Major revisions feel overwhelming and you need step‑by‑step help.
• You work better with accountability and regular feedback loops.

Typical format: Monthly calls plus email check‑ins. Some coaches review chapters as you finish them. Others focus on planning and problem‑solving without reading pages.

Timeline: 3 to 12 months depending on project scope. Rates vary widely, from hourly consultation to monthly packages.

Choose a coach who knows your genre and has editing credentials. Writing groups offer community. Coaches offer expertise.

Sensitivity reading and fact‑checking: accuracy insurance

These services protect your credibility with targeted audiences and subject matter experts.

Sensitivity readers review manuscripts for authentic representation of marginalized communities, cultural practices, or lived experiences outside the author's background. They flag stereotypes, inaccurate details, harmful language, or missed opportunities for nuanced portrayal.

Fact‑checkers verify technical details, historical events, scientific claims, or specialized knowledge. They catch errors that could undermine your authority or confuse readers.

Perfect when:

• Your story includes characters from backgrounds different from yours.
• You are writing outside your expertise (medical thriller, historical fiction, technical memoir).
• Your nonfiction makes claims that need verification.
• Your publisher or agent recommends additional review.

Process: Send your manuscript with specific areas of concern flagged. Readers provide detailed feedback on accuracy, sensitivity, and suggestions for improvement.

Timeline: 1 to 4 weeks. Cost: Varies by word count and specialty. Some charge flat fees, others hourly rates.

Note: Sensitivity reading works best after developmental editing but before copyediting. Major structural changes afterwards waste the investment.

Series continuity editing: the long game

Writing a series multiplies your continuity challenges. Character ages, timeline details, world‑building rules, and recurring supporting cast need consistency across multiple books.

A series continuity editor tracks these details and flags inconsistencies before they reach readers. They maintain an extended style sheet covering names, descriptions, timelines, magical systems, technology rules, and relationship dynamics.

Perfect when:

• You are writing a multi‑book series (3+ books planned).
• Your world‑building includes complex rules or extensive character lists.
• You have already published Book 1 and need to maintain consistency going forward.
• Your series spans multiple years and details get fuzzy.

Process: The editor creates a master continuity file during Book 1 editing, then updates it with each subsequent book. They review new manuscripts against established details and flag conflicts.

Investment: Add 10 to 20 percent to your copyedit budget for continuity tracking. The file becomes a shared resource between you and your editor.

Pro tip: Start continuity tracking with Book 1, even if you are not sure about sequels. Retrofitting later costs more and misses early details.

Maximize your budget with smart sequencing

Layer these services strategically to get more value from your editing spend.

Before developmental editing:

• Beta readers for initial feedback on major issues.
• Manuscript assessment if budget is tight or feedback is conflicting.

Between developmental and line editing:

• Self‑edit using developmental notes to fix obvious problems.
• Book coaching for complex revisions or accountability.

Before copyediting:

• Sensitivity reading and fact‑checking while content is still flexible.
• Light self‑edit to catch repeated words, obvious typos, and formatting issues.

After copyediting:

• Series continuity check for multi‑book projects.
• Final fact‑check if claims or details changed during editing.

Build your living style sheet

Your copyeditor creates a style sheet during editing. Do not let it die there.

This document captures decisions about:

• Character and place name spellings.
• Numbers and dates formatting.
• Hyphenation preferences.
• Dialogue and narrative voice choices.
• Genre‑specific terminology.

Keep this file updated through future editions, audiobook production, and series continuity. Send it to every new editor or proofreader. It prevents repeated decisions and maintains voice consistency.

Update after:

• Copyediting (initial creation).
• Proofreading (final corrections).
• Series continuity editing (new books).
• Foreign edition licensing (approved changes).

Format: Simple Word document or spreadsheet. Include categories, examples, and page references where helpful.

When to skip these services

Not every book needs every service. Skip when:

• Your budget is already stretched on core editing stages.
• The service addresses problems you do not have.
• You are confident in your expertise or representation.
• Your timeline does not allow for additional review rounds.

Focus your money on the editing stages that fix your biggest problems first. These

Frequently Asked Questions

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