Developmental Editing Vs Line Editing: What’s The Difference?

Gary Smailes | 5 November 2025

What Each Edit Type Covers

Two edits, two jobs. One shapes the story. The other tunes the sentences. Mix them up and you waste time and money.

Developmental editing, the macro pass

Think blueprint. A developmental edit examines structure, plot, character arcs, stakes, pacing, POV strategy, theme, and market fit. Expect big moves. Scenes will shift. Chapters will die. New ones will be born.

Typical calls you might hear:

• Move the inciting incident to an earlier chapter.
• Raise stakes by tying the external problem to a personal cost.
• Pick a clear POV plan and stop head-hopping.
• Merge two side characters who duplicate a function.
• Trim a wandering subplot or stitch it to the theme so it matters.
• Adjust word count to hit genre norms and audience expectations.

Quick before and after:

• Before, the break-in occurs on page 70. After, the break-in hits on page 20 with a deadline attached.
• Before, three romance threads drift through Act II. After, one focused thread tests the same core choice as the main plot.
• Before, dual POV with random switches mid-scene. After, single POV per scene, with one planned antagonist chapter at the midpoint.

A good developmental edit leaves you with a map. Beats labeled. Cause and effect restored. A revision plan worth following.

Line editing, the sentence-level pass

Think music. A line edit shapes diction, rhythm, clarity, tone, imagery, and voice. Plot stays put. Prose gets lean and expressive. Repetition goes. Flab goes. Paragraphs flow.

Before and after, the fun part:

• Before: “She started to slowly walk across the room, trying to remember where she might have left the keys.”
• After: “She crossed the room, trying to remember where she left the keys.”
• Before: “There were a lot of different ways he felt about the news.”
• After: “The news split him open.”
• Before: “I looked at her and I was like, I don’t know, maybe we should wait.”
• After: “I met her eyes. We should wait.”

Line editing also tunes transitions between paragraphs, trims echoes, and sharpens images so each page reads with intention. Your voice stays yours, only cleaner and more precise.

Not copyediting or proofreading

Different jobs, different timing.

• Copyediting handles grammar, usage, and consistency. Expect style sheet notes on hyphenation, capitalization, numbers, names, and continuity.
• Proofreading comes last. Typos, missing words, punctuation stumbles, and layout glitches before publication.

Mixing these with developmental or line work muddies the process. Fix the story first. Polish sentences next. Correct mechanics at the end.

Fiction and nonfiction

Both need structure. The flavor differs.

Fiction:

• Developmental editing shapes narrative architecture. Where the story turns. What the protagonist wants. How internal need collides with external goal. Scene order builds tension and releases it in a climax that pays promises.
• Line editing sharpens voice and mood. Dialogue snaps. Description earns its space. Pacing on the page matches the beat sheet in your plan.

Narrative nonfiction and memoir:

• Developmental editing orders the argument or life events for maximum clarity and emotional logic. Chapters carry claims that build. Anecdotes serve a throughline.
• Line editing tightens explanations and examples. Jargon gives way to plain speech suited to your audience. Metaphors stay consistent with tone.

How-to and business books:

• Developmental editing tests scaffolding. Problem, solution, steps, case studies, objections, next steps. Each chapter answers a precise question.
• Line editing pares bloated sentences and smooths transitions so readers move from concept to action without friction.

Quick test before you book

Write two things.

• One-sentence premise. When X happens, Y must do Z or else W.
• A scene-by-scene purpose list. One line per scene that states goal, conflict, and change.

If those feel shaky, developmental editing comes first. If those hold and readers follow the story with ease, you are ready for a line edit that elevates the prose.

When to Use Each Edit in Your Manuscript’s Lifecycle

Editing has a rhythm. Follow the order and you save weeks. Skip steps and rework multiplies.

The usual order

• Developmental edit first. Big-picture structure, plot, character arcs, stakes, pacing, point of view plan, theme, market fit. Major changes expected.
• Line edit next. Sentence-level clarity, rhythm, tone, imagery, voice. Plot stays in place.
• Copyedit after that. Grammar, usage, and consistency, guided by a style sheet.
• Proofreading last. Typos, missing words, formatting slips before publication.

Treat each stage like a different tool. A wrench, then a level, then a polish cloth. Reach for the right one at the right time.

Signs you need developmental editing now

Readers feel lost, bored, or uninvested when core story logic wobbles. Watch for these common flags:

• Middle chapters drag or repeat a beat.
• Protagonist goal lacks clarity.
• Stakes do not rise, or failure costs nothing.
• Scenes read like unrelated episodes with weak cause and effect.
• Point of view drifts mid-scene, or switches break immersion.
• Beta notes sound like “I did not care what happened” or “I did not understand why anyone did this.”

Quick gut check:

• Print a scene list. For each entry, write goal, conflict, and change in one line. If many scenes show no change, structure needs attention.
• Take five scenes from the middle. Write a one-sentence summary for each. If a swap changes nothing, order lacks purpose.
• Map the protagonist’s want across the book. If the want resets every few chapters, the spine of the story has gone soft.

Nonfiction version:

• Chapter promises do not match chapter outcomes.
• Repetition masks gaps in logic.
• Case studies fail to support claims or come too late to matter.
• Readers ask, “What is the argument here?”

Developmental feedback will reframe chapters, merge or cut characters, reorder beats, and set a path for stakes that rise. Expect to add and remove scenes. Expect new bridges between ideas. A stronger foundation follows.

Signs you are ready for line editing

Structure holds. Readers track goals and stakes without coaching. You plan no large rewrites. Yet the prose feels clunky, wordy, or flat. Good. Time to tune sentences.

Look for these markers:

• Paragraphs wander before landing their point.
• Dialogue tags and beats repeat the same move.
• Filter verbs crowd the page. Thought, felt, noticed, seemed.
• Descriptions sit heavy with filler words and weak verbs.
• Transitions jar or stall momentum.

Micro example, story stays the same, sentences tighten:

• Before: “She started to slowly open the door, and then she sort of stepped inside in a hesitant way.”
• After: “She eased the door open and stepped inside.”

Another:

• Before: “There were plenty of moments where he felt like he wanted to leave, but he didn’t.”
• After: “He thought about leaving often. He stayed.”

Nonfiction tweak:

• Before: “There are a number of factors which are important to take into consideration when trying to improve team morale.”
• After: “Several factors improve team morale.”

When this kind of revision lifts the page without touching events or argument order, line editing is the right call.

Short-form and hybrid cases

Short stories and essays often benefit from a mixed pass. A quick structural review, then a light line edit in the same round. One editor note might say, “Move the reveal to the opening paragraph.” The next comment trims a wordy sentence. Fewer pages make this blend practical. Longer projects need clean staging. Big moves first, polish later.

Freeze structure before line editing

Protect your budget. Do not pay to smooth paragraphs you plan to delete next week. Lock the frame first.

A simple checklist:

• Finish any big cuts or additions before booking a line edit.
• Finalize scene order and chapter breaks.
• Confirm point of view plan for each scene.
• Mark placeholders in brackets so nothing hides in plain sight. Rework those sections now.
• Read the whole manuscript aloud. Flag clunky spots for your line editor.
• Share a brief with genre, audience, and goals. Add a style sheet if you have one.

One more sanity check before you hit send:

• Ask two readers to describe the protagonist’s goal and what stands in the way. If answers match, green light for line editing. If answers clash, return to developmental work.

Respect the sequence and you will move faster. Fewer backtracks. Cleaner pages. Stronger book.

Deliverables, Tools, and What You’ll Get Back

You do the work. You deserve clarity on what lands in your inbox. Here is what to expect, edit by edit.

What a developmental edit delivers

• Editorial letter. Usually 10 to 20 pages, sometimes more. Big-picture notes on structure, plot, character arcs, stakes, pacing, point of view strategy, theme, and market fit. You also get priorities, next steps, and a suggested plan for revision.
• Annotated manuscript. Margin notes on scene goals, emotional beats, causality, and places where tension drops. Comments flag scenes to cut, combine, expand, or move.
• Beat sheet or story map. A scene-by-scene grid with goal, conflict, outcome, and word count. You see patterns fast. Repetition pops. Gaps show.
• Subplot tracker. A simple table that follows subplots across chapters so threads do not vanish.
• Prioritized revision plan. Clear order of operations. Solve X first. Then Y. Then a final pass for smoothing.

Tools vary. Most editors work in Word with Track Changes for comments and in-text queries. Some use Google Docs for live discussion. The letter often arrives as a PDF. Beat sheets often live in a spreadsheet. Pick the format you prefer at booking.

A quick taste of the tone you might see:

• Editor note on Chapter 8: “Goal for the scene stays fuzzy. Give Ava a concrete objective before she walks into the diner. Raise the price of failure. A missed call from her sister would add pressure.”
• Editor note on Act Two: “Middle stalls. Three scenes cover the same emotional beat. Merge into one set piece. Use the fallout to push Ava toward a harder choice.”

Expect hard truths paired with a path forward. Good developmental notes do both.

What a line edit delivers

• Tracked changes on every page. Edits for clarity, rhythm, tone, and image work. Flab trimmed. Repetition reduced. Voice sharpened, not replaced.
• Margin comments. Short explanations for choices, plus questions where meaning seems unclear.
• Style sheet. A running record of spellings, hyphenation, capitalization, numbers, names, and special terms. This keeps usage steady from first page to last.

Line editors keep your story or argument intact. Sentences get tuned for effect. A few quick examples:

• Before: “She began to slowly open the door and then she sort of stepped inside.”
• After: “She eased the door open and stepped inside.”
• Before: “There were a number of moments where he felt like he wanted to leave, but he didn’t.”
• After: “He thought about leaving often. He stayed.”
• Nonfiction before: “There are several different areas which are important to take into consideration during onboarding.”
• Nonfiction after: “Onboarding hinges on a few areas.”

You still sound like you. You, only cleaner.

How deep the changes go

Developmental notes reshape the book. Scenes move. Chapters merge. Stakes rise. Sometimes an entire subplot exits. The edit guides purpose, order, and momentum.

Line edits reshape sentences. Word choice tightens. Images land. Paragraphs flow. Meaning stays the same, delivery improves.

A quick contrast:

• Developmental flag: “Chapter 12 repeats the reveal from Chapter 9. Cut the repeat or move the first hint earlier. Use the saved space for fallout.”
• Line edit tweak: “Cut ‘actually’ and ‘really.’ Swap ‘looked’ for a more precise verb. Combine the last two sentences for punch.”

What sample edits look like

• Developmental sample. Often a brief diagnostic plus notes on your opening pages. You might see a one-page overview of strengths, risks, and next steps, followed by targeted comments on Chapters 1 to 3. Enough to show approach and fit.
• Line edit sample. A few pages with tracked changes. You will see trims, recasts, and comments that explain the why behind each move.

Ask for samples that mirror your project. If you write memoir, ask for a memoir sample. Same for romance, SFF, or narrative nonfiction.

Before you book, confirm the workflow

Protect schedule and budget with a clear plan. Request:

• A deliverables list. Letter length. Annotated file. Beat sheet or story map. Subplot tracker. Style sheet. The works.
• Sample pages. Two to five pages often does the job.
• A workflow outline. Rounds. Debrief call or Q&A. Turnaround for each stage. Response time for follow-up questions.
• File formats. Word with Track Changes is standard. Confirm if Google Docs will be in play.
• Boundaries. How many emails or calls. One follow-up check or none. Revision window for a second look.

You want an editor who tells you exactly what you will receive, when you will receive it, and how feedback will arrive. Clear expectations make revision faster and far less painful.

Choosing the Right Editor for Your Needs

Picking an editor shapes your book and your nerves. Choose with care. A good match saves months. A poor match drags you into rewrites you never needed.

Match expertise to genre and category

Ask for proof, not vibes.

• Request recent client titles in your category. Romance needs someone fluent in tropes and heat levels. SFF needs someone who tracks world rules without smothering voice. Memoir needs someone who knows legal risk and ethical lines. Narrative nonfiction needs someone who builds argument and scene on the same page.
• Ask for three comps they know well in your lane. Listen for specifics. “This author leans low-angst closed-door,” or “Space opera with a tight single POV and high gadget density.”
• Ask where they are weaker. A pro knows. A romance specialist might pass on hard science. A literary editor might pass on a snark-forward thriller.

A quick gut check during the call: describe your book in one sentence. Then ask the editor to mirror it back in fresh words. If the mirror rings true, you likely have alignment.

Clarify scope before price

Scope creep burns budget. Name what you need.

• Full developmental edit. A deep read with an editorial letter, margin notes, and a revision plan. Expect scene moves and structural surgery.
• Manuscript assessment. A high-level report without line notes. Good for early drafts or budget protection.
• Heavy line edit. Sentence surgery with recasts, trims, and queries. Voice stays. Delivery improves.
• Light line edit. A polish pass focused on clarity, rhythm, and consistency. Fewer rewrites. Fewer comments.
• Passes and follow-up. Confirm number of rounds. Confirm one follow-up check or none. Confirm whether a second pass costs extra.

Ask for page counts, not only word counts. A 90,000-word fantasy with four POVs takes longer than a 90,000-word memoir in first person. Complexity matters.

Protect your voice

Line editors should protect voice like a bodyguard, not rewrite it into their flavor. Test this before you sign.

• Request a short before and after from a past project in your category. Ask for the comment stream as well.
• Ask how they diagnose voice. Good answers mention diction, syntax, rhythm, and image patterning, plus where voice bends for clarity.

A tiny example, with voice preserved:

• Author line: “I keep walking, trying not to think about the knock, the way the house went quiet all at once.”
• Editor tweak: “I walk faster, ignoring the knock, the way the house went quiet at once.”
• Comment: “Tighten ‘keep walking’ to ‘walk faster’ for urgency. Kept the hush image. Flag if ‘at once’ feels off your mouth.”

Notice the tone stays aligned with the narrator. No flavor swap. No forced snark. No blanding.

Red flag moves:

• “Let’s remove all sentence fragments.” If fragments are part of the voice, that note hollows the page.
• “First person feels indulgent. Third would be better.” A format shift at line edit stage signals a mismatch on scope.

Communication and collaboration

Clarity beats guesswork. A clean workflow keeps momentum.

Confirm:

• Timeline. Start date, delivery date, and buffer for holidays or travel.
• Feedback style. Tough-love blunt. Gentle and encouraging. Pointed questions. You know what helps you revise, so ask for alignment.
• Meetings. One kickoff call. A debrief call after notes arrive. A Q and A window for follow-ups.
• File formats. Word with Track Changes is standard. Some editors use Google Docs for shared comments. Confirm version control.
• Disagreement plan. What happens when you disagree with a change. A pro explains the reason, then defers to the author.
• Boundaries. Response times for email. Availability on weekends. How many back-and-forths sit inside the fee.

Ask for one small process example. “When you flag a sagging scene, what do you give me?” Strong answer: scene goal, conflict source, stakes, location of the drag, and two or three revision paths.

Green flags and red flags

Green flags:

• Clear proposal with deliverables, timelines, and price tied to scope.
• Samples that reflect your category.
• Notes that diagnose problems and offer concrete ways forward.
• Curiosity about your goals, audience, and comps.

Red flags:

• Vague promises and no samples.
• One-size-fits-all advice. “Every chapter needs a cliffhanger.”
• Heavy line edits that erase voice.
• Pressure to skip developmental work when structure wobbles.

How to run a quick editor test

Run a five-page test with two finalists. Same pages. Same instructions. Compare:

• Do they hear your premise.
• Do they spot the same issues.
• Do they help without flattening voice.
• Do you feel smarter after reading the notes.

Price matters. Fit matters more. Cheapest edit often becomes the most expensive, since cleanup follows.

Action: what to send and what to request

Send a tight brief:

• Word count and category.
• One-sentence pitch and two comps.
• Target reader and goal for publication.
• Problem areas you already suspect.
• Timeline and any hard deadlines.
• Sensitivities, content warnings, or legal concerns.
• A style sheet if you have one.

Request:

• A sample edit in your category. Two to five pages.
• A deliverables list with file types.
• A written proposal with milestones, price, and payment schedule.
• Confirmation on rounds, calls, and a follow-up check.
• A short note on voice protection and how they handle disagreements.

If two proposals look close, book a fifteen-minute call. Listen for how the editor talks about your work. Respect paired with precision signals a partner who will push you, without sanding off what makes your voice yours.

Costs, Timelines, and Scope: Setting Expectations

Money, time, scope. Nail these early, and the whole edit goes smoother. Let them drift, and you pay twice.

What drives price

Rates vary by genre, complexity, and editor experience. Ballpark ranges:

• Developmental editing: 0.02 to 0.07 per word.
• Line editing: 0.01 to 0.04 per word.

Other pricing models show up too.

• Flat fee tied to word count and scope.
• Hourly for consultations or a diagnostic.

Why rates differ:

• Complexity. A 90,000-word fantasy with four POVs, a braided timeline, and invented terms requires more analysis than a single-POV thriller in present tense.
• Condition. A late draft with clear goals asks for less heavy lifting than a discovery draft.
• Experience. Seasoned editors read faster and go deeper, and they price for that value.
• Extras. A revision plan, a debrief call, or a follow-up check adds time.

Ask for a breakdown. Page count, per-word rate, or flat fee. What the fee covers. What triggers a change order.

Hidden costs to watch:

• Rush fee for tight deadlines.
• Second-pass fee if you want a fresh read after revisions.
• Scope shift. If the draft grows by 15,000 words, the price follows.

How long this work takes

For an 80,000-word novel, common timelines look like this:

• Developmental edit: 3 to 6 weeks.
• Author revision window: 4 to 8 weeks, sometimes longer.
• Line edit: 2 to 4 weeks.

Add calendar buffer. Life gets loud. Editors juggle queues, travel, holidays. You might hit a revision snag. Give yourself breathing room.

Nonfiction with heavy sourcing often stretches longer. Short story collections move faster on a per-piece basis, then slow again during ordering and theme pass.

A practical rule for calendars:

• Secure a start date, then plan backward from delivery.
• Book the line edit after you finish major revisions, not before.
• Hold a week after each feedback delivery for decompression and planning.

Scope, rounds, and what you receive

Spell out scope in plain terms. No surprises later.

For a developmental edit, a solid package includes:

• Editorial letter. Ten to twenty pages with structure, plot, character arcs, stakes, pacing, point of view strategy, theme, and market position. Actionable, not vague.
• Annotated manuscript. Margin notes on scene purpose, causality, tension, and places where readers drift.
• Tools. Beat sheet or story map. Subplot tracking. A prioritized revision plan.

For a line edit, a professional package includes:

• Tracked changes on every page. Recasts, trims, and clarity fixes that preserve voice.
• Margin comments explaining choices and offering options.
• Style sheet. Spelling, hyphenation, capitalization, character names, timelines, and any house decisions.

Rounds:

• Confirm number of passes. One full pass plus a light follow-up is common.
• Confirm a debrief call or Q and A window.
• Confirm whether a second pass after revisions sits inside the fee or comes as a fresh booking.

Contracts and logistics

A clean agreement protects both sides.

Look for:

• Payment schedule. Deposit to hold dates, mid-stage payment, and final balance on delivery.
• Scope and deliverables in writing. Page count, file types, and dates.
• Confidentiality and rights. Your work stays yours.
• Cancellation terms. What happens if you postpone or stop.
• File format. Word with Track Changes is standard. Some editors work in Google Docs. Decide version control up front.
• Security. How files move. Email, shared drive, or portal.

Before you sign, ask one scenario question. For example, if your draft expands by a new subplot during revisions, how will pricing and timing adjust. Listen for calm process, not hand-waving.

How to read two proposals side by side

Do this quick test.

• Read deliverables first, price second. A cheaper number with thin deliverables often leads to a second hire later.
• Check dates. Start, milestones, and final delivery.
• Read the sample. Does the feedback improve clarity, tension, and flow without flattening voice.
• Look for strategy. An editor who explains priorities helps you plan revisions with purpose.

If two options feel close, book a short call. Ask, how would you approach my sagging middle, or my essay’s muddy argument order. Clear answers signal fit.

Where authors overspend

Three common traps:

• Polishing before structure. Paying for line work on scenes that will leave the book. That money never returns.
• Endless micro rounds. A third or fourth pass without an outcome shift. If you want new results, you need a new goal or scope, not more commas.
• Unclear scope. A single pass quoted, two passes expected. Put rounds in the proposal.

A small story from my inbox. Two clients brought 85,000-word thrillers in the same month. Client A booked a developmental edit, took six weeks, cut two subplots, and wrote one clean twist. Line edit after that took two weeks. Client B skipped structure, went straight to line work, then heard from beta readers that the midpoint sagged. We did a new scene order, then another round of line edits on new pages. Total spend for B ran 40 percent higher. Same book length. Different sequence.

Budget planning that saves you money

• Prioritize development if structure feels wobbly. Every later step gets cheaper and faster with a sound spine.
• Limit paid samples to two or three editors. Enough data without draining budget.
• Bundle needs. If you want a debrief call and a follow-up check, book both upfront. Add-ons later often cost more.
• Use your revision window well. Scene list. Goal, conflict, outcome, and word count. Notes in margins on where tension dips. The next edit lands cleaner.

What to ask before booking

• How many pages per day does your process cover on projects like mine.
• How do you handle disagreements about a change.
• What does a typical margin note look like on a slow scene.
• Do you offer a second look after revisions, and what does that include.
• What dates do you have, and what happens if my draft shifts by ten thousand words.

You want numbers, timeframes, and a plan. You want an editor who respects voice, meets dates, and gives feedback that sparks revision.

Action: if structure feels uncertain, budget for a developmental edit. A strong foundation makes every later pass faster, cheaper, and far less stressful.

DIY Prep to Reduce Costs and Improve Results

Think of this as clearing the path before a marathon. Less gravel underfoot, fewer blisters later.

Build a working map

Create a scene list. One line per scene. Include:

• Number and title.
• POV.
• Location and time.
• Word count.
• Goal, conflict, outcome.

Example:

• 12. Maya at the pier, night. POV Maya. 1,400 words. Goal: secure the drive. Conflict: cousin arrives with cops. Outcome: Maya leaves empty-handed, raises suspicion.

Now test cause and effect. For every scene, write one because-statement.

• Because X happens in scene 11, Y follows in scene 12.

If a scene fails this test, mark CUT or MOVE. No shame. Dead scenes drain pace.

Check scene purpose. Ask:

• What changes here.
• Who wants something, and who blocks it.
• How tension increases.

Pressure-test midpoint and climax

Midpoint first. Note what shifts. Power flip, revelation, or no way back moment. A midpoint with no change slows the entire book.

Climax next. State the central question in one line. Then answer it in the climax. If the answer arrives earlier, you have a sag. If the answer never lands, you have a drift.

Mini exercise:

• Write a one-sentence premise.
• Write a one-sentence midpoint turn.
• Write a one-sentence climax answer.

If these feel foggy, hit structure before polish.

Voice and clarity pass

Read out loud. Your ear catches flab your eyes forgive. Record on your phone, then play while scanning the text. Stop where you wince.

Trim weak phrasing.

• Swap start-and-stop verbs. “Began to run” becomes “ran.”
• Reduce helper verbs. “Was going to speak” becomes “planned to speak,” or better, “spoke,” if timing allows.
• Replace vague verbs with specifics. “Went” becomes “walked,” “drove,” “sprinted.”

Vary sentence length. If you see five long sentences in a row, cut one and split one. If you see a string of short ones, combine two.

Prune filler and repeats. Look for hedges, throat-clearing, and double beats. Examples:

• “In order to” often reduces to “to.”
• “Due to the fact” reduces to “because.”
• “She nodded her head” becomes “She nodded.”

Tighten modifiers. Pick the right noun or verb, then lose the booster. “Whispered softly” becomes “whispered.” “Huge giant” needs only one word.

Check paragraph focus. Each paragraph should track one mini idea or action. If a paragraph holds three topics, split and order by cause and effect.

Consistency tools

Build a style sheet as you draft. A single page works.

• Names, nicknames, and spellings.
• Hyphenation choices. E mail or email. Decision stays constant.
• Numbers. Words under one hundred or numerals for all ages and dates.
• Capitalization for world terms.
• Timeline notes by chapter.

Create a character and location bible. Include:

• Ages, birthdays, quirks, and skills.
• Core beliefs and tells.
• Houses, workplaces, vehicles, with key details.

When a detail changes, update the sheet. Your future self will send thanks.

Reader validation

Pick three to five beta readers who love your genre. Give a simple brief and a deadline with slack. Focus their attention with a short question list.

Good questions:

• Where did your attention dip.
• Where did you feel lost about goals.
• Which scene felt like repeat information.
• Point to one moment you loved and why.
• What question pulled you forward.
• Where did tension go flat.

Ask for page numbers, not rewrites. Treat outlier notes with care, repeated notes with urgency.

If you write nonfiction, swap in argument checks.

• Which claim needs support.
• Where does the order confuse.
• What section felt out of scope.

Tech aids, used wisely

Run ProWritingAid or Grammarly with settings tuned for clarity. Use these tools to surface:

• Typos and missing words.
• Overlong sentences.
• Repeated words in close range.
• Passive voice where an active choice would help.
• Sticky sentences with glue words.

Review suggestions with judgment. Accept mechanical fixes in bulk. Pause on stylistic changes that flatten voice. If a rule fights rhythm or tone, keep your line.

Prep a clean handoff

Before booking, prepare a short brief for your editor:

• Word count, genre, and audience.
• One-sentence premise.
• Comparable titles and position on the shelf.
• Strengths you trust.
• Problem areas you want help with.
• What success looks like for this round.
• Deadlines and any hard dates.

Attach your style sheet. Include three questions you want answered. Examples:

• Does the midpoint turn hold.
• Where does the protagonist’s want line blur.
• Which passages feel overwritten.

A quick before-and-after test

Original:

“She started to walk very quickly down the street, which was dark and quiet, and she thought maybe someone was following her, so she turned around, but there was nothing.”

Tightened:

“She hurried down a dark, quiet street. Footsteps echoed. She turned. No one.”

Short, precise, higher tension. Save the editor from hauling bricks you can move yourself.

Action: Lock your structure, prepare a clean manuscript, and deliver a brief plus a style sheet to your editor. This streamlines the edit and saves you money.

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