How Much Does It Cost To Edit A Book In The Uk

Gary Smailes | 2 November 2025

What You’re Paying For (Editing Types in the UK)

Before you talk prices, know what each stage does. Different jobs, different results. Buy the wrong service and you pay twice.

Developmental or substantive editing

Big picture first. Structure, plot or argument, pacing, chapter order, character arcs. An editor reads the whole book, then points to where readers will drift, rush, or stall. You get an editorial report with priorities, plus margin notes tied to pages.

Typical moves:

• Reorder chapters to set up payoffs earlier.
• Cut or merge scenes to fix a sagging middle.
• Flag thin character motivation, weak stakes, or gaps in evidence.
• Suggest new bridge chapters, case studies, or scene beats.
• Map the book, so you see how parts support the whole.

Example problem and response:

• Draft issue: Chapters 4 to 6 repeat the same point with new anecdotes.
• Dev note: Move the strongest anecdote to Chapter 3, fold the rest into a single section, then add a counterpoint to raise tension.

This stage does not polish sentences. It tells you where to move, cut, add, and why.

Related UK services: manuscript assessment offers a lighter pass, often a shorter report without line-by-line notes.

Line editing

Now we zoom in to the sentence level. Tone, rhythm, flow, word choice. Your intent stays. The language gains lift and clarity. Expect heavy in-line suggestions.

Focus areas:

• Remove flab and filler.
• Vary sentence length for pace.
• Strengthen verbs, reduce hedging.
• Clarify logic within paragraphs.
• Smooth transitions so ideas land cleanly.

Tiny demo:

• Original: “Due to the fact the meeting was long, we proceeded to postpone the launch which was kind of expected.”
• Line edit: “The meeting ran long, so we postponed the launch. No one was surprised.”

Same meaning. Sharper voice. Less noise.

Copy editing

Accuracy and consistency rule here. Grammar, punctuation, usage, hyphenation, capitalisation, numerals, citations. You get tracked changes, margin queries, and a style sheet. The sheet records decisions on spelling, hyphens, numbers, and terms, so the book reads as one voice.

What gets fixed:

• Subject–verb agreement.
• Comma splices and run-ons.
• UK vs US spelling, standardised across the whole text.
• Hyphenation patterns, for example well known vs well-known.
• Numbers, dates, and units, applied by a clear rule.
• Citations and reference order, per the chosen style.

Quick pass on a sentence:

• Original: “Our organisation have launched three pilot’s in 2024, see appendix A.”
• Copy edit: “Our organisation has launched three pilots in 2024. See appendix A.”

No new ideas. No reshaping of arguments. Clean, correct, consistent.

Proofreading

Final check on designed pages, after typesetting. The text sits in a layout now, so new errors appear where words meet design. Proofreading hunts them down. It is not a substitute for copy editing.

What a proofreader catches:

• Typos, spacing glitches, stray italics.
• Bad line breaks, rivers, widows and orphans.
• Wrong headers or footers, folio errors.
• Broken or mislabelled cross-references.
• Figure and table mismatches.
• Ebook quirks, such as odd line wraps or busted links.

Sample fixes on a PDF:

• “Chaper 12” in a running header.
• A paragraph ending with a single word on a new page.
• “See page 00” where page numbers updated late.

How they differ, side by side

One paragraph, four treatments.

Draft: “By the time Sarah arrived the briefing had ended, which was unfortunate, and the plan was in a state of flux.”

• Developmental note: “We need Sarah in the room before the decision. Move this scene earlier or add a short cutaway so her choice drives the pivot.”
• Line edit: “Sarah arrived after the briefing. Too late to weigh in. The plan wobbled.”
• Copy edit: “By the time Sarah arrived, the briefing had ended, which was unfortunate, and the plan was in a state of flux.” becomes “By the time Sarah arrived, the briefing had ended. The plan was in flux.”
• Proofreading fix on layout: change a hyphen to an en dash in a date range nearby, patch a widow at the top of a page, correct “briefng” in a caption.

Each stage solves a different problem. Pick the one that matches the draft’s needs.

Where each fits in the workflow

A sensible sequence saves money and stress.

• Manuscript assessment for a temperature check.
• Developmental edit to sort structure and content.
• Line edit to refine voice and flow.
• Copy edit to enforce accuracy and consistency.
• Typesetting or layout.
• Proofread on the designed pages.

Depth rises as you move up this list. So do time and price. Skip a stage and the next one turns into a rescue mission. Keep the order, and every pound works harder.

Typical UK Price Ranges and Pricing Models

Numbers help you plan. Here is how UK editors price their work, plus what those numbers mean for a real manuscript.

Per‑word ranges you will see

Per‑word pricing keeps things clear. A quick trick helps. 1p per word equals £10 per 1,000 words.

• Proofreading: 0.8–1.5p per word, £8–£15 per 1,000 words. Suits clean, typeset pages near the finish line.
• Copy editing: 1.6–3.0p per word, £16–£30 per 1,000 words. Covers grammar, usage, consistency, style sheet.
• Line editing: 2.5–4.5p per word, £25–£45 per 1,000 words. Deep sentence work, tone, rhythm, flow.
• Developmental editing: 3.5–7.5p per word, £35–£75 per 1,000 words. Big‑picture structure and content. Complex non‑fiction often sits at the top end or above.

What pushes a quote to the high side. Heavy revision, dense citations, many figures, or a tangled draft. What keeps it low. A clean, stable manuscript with a clear brief.

Two quick examples:

• 70,000 words at 2.8p per word equals £1,960.
• 90,000 words at 1.2p per word equals £1,080.

Hourly and day rates

Many UK editors quote £30–£60 per hour. Senior specialists often sit at £70–£100 or higher. Day rates, often seven hours, appear most with developmental work.

Hourly only tells half the story. Pace matters. Ask for an estimate of words per hour, then convert to a per‑1,000‑words figure.

• Example, copy edit: £45 per hour at 1,200 words per hour. That equals £37.50 per 1,000 words.
• Example, line edit: £55 per hour at 800 words per hour. That equals £68.75 per 1,000 words.
• Example, developmental day: £400 per day, three to five days on an 80,000‑word book, plus report write‑up. Expect a project fee in this range.

Prefer predictability. Request a capped project fee or a not‑to‑exceed number, with a clear scope.

Example budgets for an 80,000‑word book

These are ballpark figures for planning.

• Proofreading, about £640–£1,200.
• Copy edit, about £1,280–£2,400.
• Line edit, about £2,000–£3,600.
• Developmental edit, about £2,800–£6,000 or more if the subject is complex.

Shorter book, scale down. Longer book, scale up. Use the same per‑1,000‑words logic. For a quick check, multiply your word count by the per‑word rate in pounds. 80,000 × £0.025 equals £2,000.

Pricing models and what to expect

• Per‑word or per‑1,000‑words quotes are easiest to compare. You see cost against length straight away.
• Project fees are common for developmental work. You get a fixed number, tied to a defined scope and deliverables.
• Mixed models appear too. For example, a project fee for an editorial report, plus an hourly allowance for follow‑up calls.

Read the scope with care. Look for:

• Deliverables, for example, editorial letter, tracked changes, style sheet.
• Number of passes. One pass, or one plus a light check of revisions.
• Limits on queries or calls, for example, one follow‑up call within two weeks.
• Start and finish dates. Also, how slippage is handled if pages arrive late.
• Deposit and payment schedule.
• VAT status.

Deposits, invoicing, and scheduling

Most editors secure dates with a 25–50 percent deposit. Staged payments make long projects manageable, for example 40 percent on start, 40 percent on delivery, 20 percent on acceptance. Missed milestones, reschedules, or late payments often trigger fees. Ask for those terms upfront.

Many quotes include a minimum charge for short jobs. PDF proofing for a four‑page foreword, for example, may sit below a normal per‑word total, so a flat minimum applies.

Rush work often costs more. Evening or weekend hours pull in a surcharge, commonly 10–50 percent. Book early to hold your slot and keep the base rate.

VAT in the UK

Some editors are VAT‑registered. If so, expect 20 percent VAT added to the fee. Others sit below the threshold and do not charge VAT. Confirm the position before you sign, since VAT alters the total.

How to compare quotes without getting lost

• Normalise to per‑1,000 words. If two editors quote hourly, use their stated pace to convert.
• Match scope. A low headline number often hides less work. A higher number might include a follow‑up pass, calls, or reference checks.
• Look at experience in your genre. A senior editor with the right background may work faster or spot problems earlier, which reduces total time.

One last piece of maths for the road. If a copy editor quotes £1,800 for 80,000 words, that equals £22.50 per 1,000 words, or 2.25p per word. Use these small conversions to keep comparisons honest and your budget steady.

What Drives Cost (and How to Estimate)

Prices move for clear reasons. Length. Condition. Complexity. Scope. Timing. Name each one early and your budget stays sane.

Manuscript length and condition

More words mean more hours. No surprise there. A tidy manuscript also saves money, because fewer snags slow the work.

Helpful basics:

• Standard fonts and double spacing.
• Styles for headings.
• Chapters numbered and titled.
• Tracked changes accepted.
• One spelling choice used across the whole draft, UK or US.

A quick comparison. Two novels at 80,000 words. One arrives with clean formatting, consistent dialogue punctuation, and no comments. The other arrives with mixed spelling, random fonts, broken paragraphs, and a sea of comments. The first project sits near the low end of a range. The second shifts higher, because every inconsistency needs attention.

Genre and complexity

Some books need specialist knowledge or extra checks. Those jobs run slower.

Examples that push quotes up:

• Academic or technical non‑fiction with references and footnotes.
• Memoir with legal sensitivities, name changes, and redactions.
• Business books with charts, numbered lists, and case studies.
• Cookbooks with tables, measures, and cross‑references.

Fiction also varies. A multi‑POV epic with a big cast, a timeline, and a map takes longer than a short, single‑POV romance. Dense worldbuilding invites continuity checks. Complex structure invites scene shuffles. Extra hours, higher fee.

Scope and number of passes

Scope sets the price more than any line on a rate card. One pass costs less than two. A developmental edit plus a line edit plus a copy edit costs most, because every level demands different thinking and different time.

Clarity helps. Spell out deliverables and limits before work begins.

• Developmental edit, editorial report and margin notes, one round of follow‑up questions.
• Line edit, full tracked changes plus a short style sheet, one light check of revisions.
• Copy edit, full tracked changes plus a detailed style sheet.
• Proofread, PDF or EPUB markup on designed pages, one pass only.

A “light follow‑up” rarely covers a full second pass. Expect a quick check of fixes in a few chapters, not a fresh sweep through the whole book. Ask for a price for a true second pass if needed.

Schedule and availability

Rush work often attracts a surcharge, often 10 to 50 percent. Evenings or weekends push rates up as well. Booking six to twelve weeks ahead often locks a better slot and a calmer schedule.

Missed deadlines ripple through an editor’s calendar. Late delivery usually triggers a reschedule fee or a new finish date. Confirm those terms before you pay a deposit.

Quick estimator

Use a simple formula for a ballpark.

Cost ≈ (word count ÷ 1,000) × rate per 1,000 words.

Examples:

• 70,000 words at £25 per 1,000 words ≈ £1,750.
• 55,000 words at 3p per word, which equals £30 per 1,000 words, totals £1,650.
• 100,000 words at £18 per 1,000 words totals £1,800.

One more way to think about pace. If a copy editor covers 1,500 words per hour at £40 per hour, the effective rate equals £26.67 per 1,000 words. Use this to compare with per‑word quotes.

Hidden extras to flag early

Small add‑ons snowball when nobody names them upfront. Raise them in the brief and ask for line items.

Common culprits:

• Reference list formatting to a specific guide, for example, APA or MHRA.
• Permissions checks for lyrics, epigraphs, and images.
• Sensitivity reading for culture, identity, or lived experience.
• Fact‑checking for dates, claims, and figures.
• Figure or table edits, redraws, or renumbering.
• Glossaries, indexes, and appendices.

Provide everything in one bundle. Captions, sources, alt text, and high‑res images. Clear files reduce back‑and‑forth, which reduces hours, which reduces cost.

A quick self‑audit before you ask for quotes

Five minutes of prep trims a quote faster than any haggling.

• Set one English variety, UK or US, and apply across the draft.
• Remove double spaces and stray tabs.
• Fix obvious repeats and filler scenes.
• Confirm chapter order and numbering.
• Mark any parts still in progress.

Clean inputs lead to honest estimates, and fewer surprises once work starts. Editors love a tidy brief. Your wallet will too.

How to Get and Compare Quotes in the UK Market

You want a fair price and the right editor. Start with a clear brief, ask for a sample, normalise every quote, then lock down terms in writing.

Prepare a clear brief

Editors price to scope. Give a sharp picture of the job.

Include:

• Word count, genre, audience, comps.
• Goals for the book and problem areas.
• Service level requested, developmental, line, copy edit, or proofread.
• Any deadlines or milestones.
• English variety, UK or US.
• Reference style, if non‑fiction, APA, MHRA, Chicago.

Quick template for an email:

• Subject: Quote request, 82,000‑word crime novel, line edit
• Hello [Name],
• I’m seeking a line edit on an 82,000‑word crime novel set in Manchester. Audience, fans of Tana French and Jane Harper. Goals, tighten prose and keep voice consistent. Known issues, repetition in internal thoughts and a saggy middle in chapters 14 to 18. Desired start date, w/c 12 Feb. Budget band, mid‑range. Please confirm availability, a per‑1,000‑words rate, and deliverables. A short sample edit would help. Many thanks, [Your name]

Attach the first three chapters in a clean Word file. Double spaced. Styles for headings. No tracked changes left open.

Request a sample edit

Ask for 500 to 1,000 words at the proposed level. Choose a representative section, not a polished opening only. Include one easy page and one knotty page.

What to review:

• Are comments clear and respectful.
• Do queries spot true problems, not personal taste.
• Do sentence changes preserve voice and intent.
• Does the editor explain choices in plain English.
• Does the sample align with the brief.

Two samples often teach more than any bio. Fit matters as much as price.

Normalise quotes

Quotes arrive in different shapes. Bring them to one baseline so comparison becomes fair.

Use per‑1,000‑words as the yardstick.

Example A, hourly quote:

• Editor states £45 per hour and a pace of 1,200 words per hour.
• Effective rate, £37.50 per 1,000 words.

Example B, day rate:

• £280 per day for a seven‑hour day, pace 7,000 words per day.
• Effective rate, £40 per 1,000 words.

Example C, per‑word quote:

• 3p per word equals £30 per 1,000 words.

Now compare deliverables side by side.

Checklist for scope:

• Developmental, length of editorial report, margin notes, one Q&A call, or email only.
• Line, depth of edits in text, style sheet length, a light follow‑up check or none.
• Copy edit, full tracked changes, detailed style sheet, query method.
• Proofread, PDF or EPUB markup, single pass, checks against style sheet.

If a quote looks cheap, look for missing items. No style sheet. No follow‑up. No queries. If a quote looks high, look for high‑touch features. Two passes. A call. A second check on revisions.

Check credentials and track record

Experience reduces risk. Background shows method and judgement.

Look for:

• CIEP membership and grade.
• Training or courses listed on a profile.
• Portfolio links, samples, or screenshots.
• Testimonials with names and book titles.
• Genre matches. Romance editors handle romance. Science texts need science‑literate editors.
• Presence on trusted platforms, Reedsy, or a professional site with clear terms.

Ask for two recent references in your genre. Short questions help. How was communication. Did the editor hit dates. Would you hire again.

Red flags:

• No contract offered.
• Full payment demanded before work begins.
• Vague on deliverables.
• Refusal to provide a sample.
• No knowledge of UK style guides, New Hart’s Rules, Oxford style, or your required guide.

Nail down scope and terms

Get it in writing before any deposit changes hands.

Confirm:

• Service level and deliverables, editorial letter, tracked changes, style sheet, PDF markup.
• Number of passes and whether a light follow‑up check is included.
• Query method during the job, email, comments in Word, or scheduled calls.
• Response time to queries, for example within two business days.
• Start and finish dates, with buffer for your revisions if a second pass follows.
• Word count locked for pricing, with a clause for additions.
• File formats, Word preferred, Google Docs by agreement only, PDFs for proofs.
• Style guides and dictionaries, for example New Hart’s Rules plus Oxford Dictionary.
• Deposit, often 25 to 50 percent, schedule for the remainder, VAT status, and payment method.
• Revision policy, scope of any recheck, fee for a second pass.
• Kill fee or reschedule fee if you run late.
• Confidentiality line.

A simple contract protects both sides and saves email ping‑pong later.

A quick comparison worksheet

Worksheet for three editors, fill and compare.

• Effective rate per 1,000 words:
• Service level and number of passes:
• Editorial letter length or page count:
• Style sheet included, yes or no:
• Follow‑up check included, yes or no:
• Start date and delivery date:
• Deposit and VAT:
• References supplied, yes or no:
• Notes on sample edit quality:

Pick the editor who meets the brief, proves quality in the sample, and offers clear terms at a rate that fits the budget. A tidy process here saves money and headaches down the line.

Ways to Save Without Sacrificing Quality

Editing is skilled work. Savings come from preparation, focus, and smart timing. Trim what wastes an editor’s time, and you pay for judgement, not housekeeping.

Self-edit strategically first

Do three short passes, each with a single aim.

Pass 1, structure:

• Build a scene or chapter list in a table. Include title, purpose, point of view, word count, and a one‑line summary.
• Mark dead weight. Merge duplicate beats. Move slow scenes earlier or later to keep tension alive.
• For non‑fiction, check order of arguments. Headings should mirror the logic of the book. Each chapter needs a clear promise and delivery.

Pass 2, clarity and concision:

• Cut hedges and fillers. Words like quite, rather, often, really long preambles. Go straight to the point.
• Replace three words with one precise verb. Turn passive into active where sense allows.
• Read aloud. Mouth and ear reveal clutter fast.

Pass 3, mechanics:

• Decide on UK spelling, including -ise or -ize, and stick to it across the book.
• Standardise numbers, dates, and time. For example, one to nine in words, 10 and up in numerals, or another clear rule.
• Note terms, names, and hyphenation in a one‑page style sheet for the editor.

A quick trim exercise:

• Pick any page. Cut 10 percent without losing meaning. Example:
  • Before: In order to reach the station in time, he began to walk at a faster pace.
  • After: He hurried to the station.

Shorter, clearer, cheaper to edit.

Use tools wisely

Tools tidy the draft so an editor spends energy on substance.

Formatting:

• Use Word styles for headings and body text. No tabs for indents. No manual line breaks for spacing.
• One space after a full stop. No double spaces.
• Turn on curly quotes. Use consistent quotation mark style.
• Label chapters and figures with clear, consistent names, for example Chapter 12, Figure 3.

Quick fixes in Word:

• Find double spaces and replace with single.
• Replace stray tabs with proper paragraph indents.
• Search for extra spaces before punctuation.
• Set the proofing language to English, United Kingdom, then run spellcheck.

Quality checks:

• Run PerfectIt with a UK setting. It flags inconsistent hyphenation, capitalization, and lists.
• Use a readability check to flag long sentences. Shorten where sense allows.
• For references, test a sample in your chosen style, APA, Chicago, MHRA. Fix the pattern before you fix 300 entries.

Use tools as brooms, not as editors. You want clean floors before the consultant walks in.

Target spend where it matters

Spend where impact runs highest.

• Wobbly story or argument. Book a manuscript assessment or a developmental edit. No copy edit yet.
• Solid structure but lumpy prose. Book a line edit. Leave the commas for later.
• Clean sentences and stable content. Book a copy edit, then typesetting, then a proofread on pages.

A useful hybrid:

• Ask for a short editorial assessment first, two to five pages of notes. Then apply revisions. Then book a deeper service. One smart step saves paying twice for the same problem.

Bundle and schedule

Money likes predictability. Scheduling helps you avoid premiums.

• Book early. Editors fill calendars weeks ahead. Early bookings reduce rush fees and stress.
• Ask about bundles. Line plus copy often comes with a modest discount and better continuity.
• Stage payments. A deposit secures dates, then milestones split the rest. Agree on dates for each pass before work starts.
• Share a realistic revision window between passes. If you need four weeks to revise after a line edit, say so upfront. Slipped schedules lead to rescheduling fees.

A simple timeline:

• Week 1, sample edit and quote.
• Week 2, deposit paid, slot confirmed.
• Week 5, line edit delivered.
• Weeks 6 to 8, your revisions.
• Week 9, copy edit.
• Week 11, typesetting.
• Week 12, proofread on pages.

Trim complexity

Complexity eats hours. Reduce it before handover.

For non‑fiction:

• Supply complete references in one style. Include DOIs or URLs where required. Provide a clean, single list.
• Confirm citation order and format. Author‑date or footnotes, choose once and apply.
• Provide alt text for images and clear captions. Link each caption to a file name.

For fiction and memoir:

• Create a cast list with names, spellings, relationships, and key traits. Note accents or dialect choices.
• Provide a timeline with dates and ages where plot relies on them.
• Flag any invented terms or languages with preferred spelling.

For all genres:

• Resolve permissions for lyrics, long quotes, and images before editing.
• Supply high‑resolution images with clear file names.
• Remove tracked changes and comments you plan to ignore.
• Version control. Save a clean file with a clear name, for example Title_Author_v4_70000w.docx.

A preflight checklist to send with your brief:

• Word count and genre.
• UK spelling choice and dictionary, for example Oxford.
• Style guide, if any, for example New Hart’s Rules or Chicago.
• Reference style, if used.
• Known weak spots and priorities.
• Deadline and desired level of service.
• Your one‑page style sheet.

Do this groundwork and you buy fewer hours for the same outcome. You also attract stronger editors, because a tidy brief signals a tidy collaboration.

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