What Is Book Editing

Gary Smailes | 1 November 2025

What Book Editing Covers and Why It Matters

Editing turns a draft into a book readers trust. Not by sprinkling commas, by shaping purpose, structure, and voice so the whole thing holds.

Here is the heart of it. A professional editor refines your manuscript for clarity, coherence, voice, and market readiness. The goal is a book that lands with the reader you want, fits its shelf, and earns attention from agents, publishers, or a savvy indie audience.

What editing touches

• Big picture. Story or argument, structure, pacing, stakes, and reader promises.
• Middle layer. Chapter and scene order, transitions, throughlines, and signposting.
• Sentence layer. Tone, rhythm, imagery, dialogue flow, and clarity while protecting voice.
• Consistency. Names, terms, hyphenation, numbers, and usage choices recorded in a style sheet.

You get an editorial letter that explains what works and what drags, an annotated manuscript with comments and suggestions, and a path to revise with purpose.

Why readers feel the difference

Editing improves the reading experience. It trims confusion. It strengthens momentum. It raises credibility.

• For a novel: the protagonist wants something from page one, scenes escalate, backstory supports the present action, and the ending pays off the setup.
• For nonfiction: the thesis is plain by chapter one, each chapter proves a distinct point, examples match claims, and headings guide a busy reader.

A quick before-and-after to show the shift.

• Before, fiction: “John walked to the store thinking about everything. He remembered his childhood and felt sad. Then he bought milk.”
• After: “John spots the eviction notice. He heads to the corner store, one plan in his pocket, coins in the other. At the dairy case he learns the clerk is the landlord’s son.”

Same word count, more purpose, higher stakes, cleaner beats.

• Before, nonfiction: “Leaders must innovate to stay competitive in today’s market.”
• After: “If revenue depends on repeat customers, test one new offer each quarter. Keep what hits a 20 percent conversion. Retire what misses twice.”

Plain, specific, useful. Readers lean in when you respect their time.

Editing is not proofreading

Editing addresses content and craft, from big picture to sentence level. Proofreading is the last cold pass on designed pages. One shapes the book. The other hunts surface errors before print or upload.

Think of the difference like this:

• An editor tells you chapter 4 belongs after chapter 7, trims a saggy middle, and rewrites a sample paragraph to show a stronger beat.
• A proofreader fixes a dropped quotation mark on page 214, flags a bad line break in a heading, and corrects “affect” to “effect.”

You need both, but not in the same week.

Where editing sits in the publishing path

Draft and redraft. Share with a few target beta readers. Then hire the right level of edit. After revisions, move to copyediting. Next comes typesetting or ebook formatting. Proofread on pages. Then distribute.

Skipping steps invites rework. Moving a chapter after line editing costs money and peace.

Quick exercise to set your aim

Editors do their best work when the brief is clear. Set the guardrails now.

Write three sentences.

1. Target reader: “This book serves __________, who want __________.”
2. Lane or genre: “The book sits with __________, and follows the expectations of that shelf.”
3. Goal: “My plan is to __________, so the edit needs to prepare for __________.”

Examples:

• “This thriller serves readers who love high-stakes heists with a soft spot for found family. The book sits with fast, voicey crime novels. My plan is to query agents, so the edit needs to align with current market pace and length.”
• “This leadership guide serves first-time managers in tech. The book sits with practical, short business handbooks. My plan is an indie release, so the edit needs to sharpen value per page and prepare for endorsements.”

Share these lines with your editor. They shape the level of edit and the timeline.

What you gain

• A draft that holds together under pressure.
• A book that respects readers and earns word-of-mouth.
• Fewer rewrites during production.
• A smoother path to agents, publishers, or a clean indie launch.

Good editing is a partnership. Bring a clear aim, an open mind, and a draft worth pushing. Your readers will feel the work on page one.

Types of Book Editing (From Big-Picture to Final Polish)

Think of editing as a zoom lens. Start wide. Tighten focus. Finish with a polish so clean no one trips on a typo.

Manuscript assessment

A manuscript assessment is a diagnostic report. No edits in the file, no Track Changes. You receive a clear read on strengths, risks, and priorities for revision.

Typical contents:

• What the book promises and where it delivers or misses.
• Structure and pacing notes, with examples.
• Character or thesis development gaps.
• Market fit, comps, and length guidance.
• A step-by-step plan for the next draft.

Good for early drafts and for writers who want a map before ripping up chapters.

Quick example:

• Note from assessor: “Your memoir sings in the school scenes. The travel sections slow momentum. Combine two trips into one chapter and push the teacher-student conflict forward.”

You revise with purpose, then move to heavier editing.

Developmental or substantive editing

This is the macro pass. The work happens at the level of story or argument. Structure. Stakes. Order. Chapter goals.

What a dev edit addresses:

• For fiction: premise, plot spine, point of view, character arcs, scene stakes, timeline logic.
• For nonfiction: reader promise, TOC flow, chapter aims, evidence, case studies, transitions.

Typical deliverables:

• A detailed editorial letter with what to keep, cut, move, or build.
• Margin notes that show where the reading experience dips or peaks.
• A proposed outline or beat map for the next draft.

Micro example, fiction:

• Before: Chapter 2 shows a long breakfast with exposition. Chapter 6 has the inciting incident.
• After: The incident moves to page 10. Breakfast shrinks to two paragraphs and supports the stakes revealed by the incident.

Micro example, nonfiction:

• Before: Three chapters repeat the same advice in different words.
• After: One focused chapter with a checklist, one case study, one counterexample.

A solid dev pass pays for itself, because the later stages move faster.

Line editing

Line editing works at sentence and paragraph level. The goal is clarity, tone, rhythm, and flow while protecting your voice.

What shifts here:

• Wordy sentences tighten.
• Repetition thins out.
• Dialogue gains cadence.
• Imagery lands with precision.
• Transitions guide the eye.

Tiny before and after, fiction:

• Before: “Maya walked slowly along the road, thinking about how everything had changed in such a short period of time.”
• After: “Maya drifts down the road, stunned by how fast life tilted.”

Tiny before and after, nonfiction:

• Before: “There are a number of different ways to approach weekly planning that you might find helpful.”
• After: “Pick one weekly plan. Stick to it for four weeks. Review and adjust.”

Line editing often includes light recasts to show you the stronger choice, then you apply the pattern across the book.

Copyediting

Copyediting deals with correctness and consistency. The prose stays yours. The grammar stops wobbling.

Scope:

• Grammar, punctuation, and usage.
• Spelling choices, US or UK.
• Hyphenation, capitalization, numerals.
• Consistency for names, places, terms.
• Fact flags and queries where claims need support.
• Style guide alignment, often Chicago Manual of Style, plus a living style sheet for your book.

Examples of decisions recorded on a style sheet:

• Serial comma: on.
• Percent: numerals with percent sign in tables, words in narrative.
• Product names: iPhone, not Iphone.
• Character names and traits: “Elena,” never “Elaina.” Left-handed. Scar on right knee.

Copyediting also catches subtle landmines. “Principle” versus “principal.” “Year-over-year,” not “year over year” if the sheet says so.

Proofreading

Proofreading is the last stop before print or upload. The text is laid out. The job is to catch surface errors and layout problems.

What proofreaders look for:

• Typos and punctuation slips.
• Bad line breaks, rivers, and stacks.
• Widows and orphans.
• Wrong folios or running heads.
• Caption mismatches and figure references.
• Missing glyphs, odd kerning, and broken links in ebooks.

Example:

• Flag: “pubic policy” on page 142. You know the fix.
• Flag: Chapter title repeats at the bottom of a page due to a layout hiccup.

Do not add new paragraphs here. Changes at proof stage risk new errors.

Adjacent services

Some books need extra expertise. Bring it in early.

• Sensitivity reading. A specialist reviews representation and flags harm, stereotypes, or blind spots with specific guidance.
• Fact-checking. Sources verified, quotes confirmed, dates lined up.
• Permissions. Lyrics, images, long quotes, and epigraphs cleared with rights holders.
• Indexing for nonfiction. A professional indexer builds entries that serve real readers.
• Beta reads. Target readers give feedback on engagement and clarity before heavy editing.

These services protect you, your readers, and your book’s reception.

Avoid expensive rework

Order matters. Freeze structure before line or copyediting. Lock wording before proofreading.

A practical sequence:

1. Manuscript assessment if you need direction.
2. Developmental edit and your revisions.
3. Line edit and your revisions.
4. Copyedit and your revisions.
5. Layout for print and ebook.
6. Proofread on designed pages.

Two quick checks to keep you on track:

• If scenes or chapters still move around, you are not ready for line work.
• If you are still rewriting paragraphs, you are not ready for proof.

Hold the line. Your future self, and your budget, will thank you.

The Editing Process and Typical Deliverables

You move from diagnosis to polish. Each pass serves a single job. Skip a step, problems linger and cost money.

Workflow, step by step

1. Manuscript assessment, optional. A high-level read with no line edits. You receive a report on strengths and risks.
2. Developmental or substantive edit. Structure, plot or argument, pacing, order. Big decisions live here.
3. Line edit. Tone, rhythm, clarity at sentence and paragraph level. Voice stays intact.
4. Copyedit. Grammar, usage, consistency, and a written record of choices.
5. Typesetting and ebook formatting. Words meet design.
6. Proofreading on designed pages. Final safety check before print or upload.

A quick rule. Move big blocks before step 3. Lock wording before step 6.

What you receive from an editor

• Editorial letter. A diagnosis with recommendations. Big wins to keep, weak links to fix, next steps in priority order. Expect page or scene references, not vague notes.
• Annotated manuscript. Track Changes for edits. Comment balloons for questions, prompts, and examples. You learn by seeing revisions in context.
• Style sheet. A living reference for names, terms, numbers, hyphenation, capitalization, and special choices. Your series bible in miniature.

Sample style choices:

• Serial comma: on.
• Numbers: one to nine spelled out, 10 and above as numerals.
• Spelling: US, Merriam-Webster primary.
• Hyphenation: decision-making, not decision making.
• Character: “Aarav,” never “Arav.” Speaks Gujarati at home.

Save the style sheet. Share with designers, proofreaders, and future collaborators.

Mapping tools that keep a book coherent

For fiction:

• Scene map. One line per scene with date, location, goal, conflict, outcome. Gaps appear fast.
• Beat map. Inciting incident, midpoint shift, crisis, climax, resolution. Check timing, not word count.
• Timeline. Birthdays, school years, holidays, travel days. Prevents Tuesday from turning into two weeks.

For nonfiction:

• Reverse outline. One sentence per chapter, purpose first, key proof second. Repeats jump off the page.
• TOC flow diagram. Promise, build, payoff. Each chapter moves the reader from problem to result.
• Evidence log. Source, quote, page, permission status. No last-minute panic.

Mini exercise, twenty minutes:

• Write a one-line purpose for each chapter or major scene.
• Mark any line without a clear purpose. Combine or cut.
• Reorder with index cards or a digital board. Read the flow aloud.

Tools and standards the industry trusts

• Word with Track Changes. Still the default for long-form editing.
• Google Docs with Suggestions for shared work.
• Chicago Manual of Style for books, plus Merriam-Webster or Oxford for spelling.
• PerfectIt for consistency checks, used after human passes.
• Version control with clear filenames.

Simple naming scheme:

• Surname_Title_v01_2025-03-04.docx
• Surname_Title_v02_EDITOR_2025-03-28.docx
• Surname_Title_v03_AUTHOR_2025-04-12.docx

Never overwrite old files. Store in a single folder with dates.

Timelines and round rhythm

Expect multiple rounds. Editing is revision, feedback, revision again. Build space for your own work between passes.

Common ranges for an 80,000-word book:

• Developmental edit: three to five weeks for reading and letter. Two to six weeks for your revision window.
• Line edit: two to four weeks. Then your revisions.
• Copyedit: two to three weeks. Short author review window next.
• Typesetting and ebook formatting: one to two weeks.
• Proofreading on designed pages: one week. Fast author fixes only.

Rush requests raise cost and risk. A steady schedule lowers stress and error rates.

Project management that saves sanity

Before work starts, agree on:

• Scope. Which level of edit, which files, how many passes.
• Deliverables. Letter length, comments, style sheet format, proofing on PDF or printout.
• Dates. Editor handoffs, author response windows, final lock date.
• Payment. Schedule tied to milestones, not vague checkpoints.
• Communication. Email or portal, response times, emergency plan.

Use a change log to track decisions.

Suggested columns:

• Date.
• Decision. Example, “Guardian, not guardian, for the newspaper.”
• Location. Chapter and page or section.
• Reason. Consistency with prior usage, source, or house style.
• Owner. Editor or author.

Two sample entries:

• 2025-04-02 | “health care” as two words | Ch 3, p. 47 | Matches CMS | Editor
• 2025-04-10 | Cut duplicate anecdote | Ch 8, pp. 162–164 | Covered in Ch 6 | Author

A short log prevents whiplash, especially during late changes.

A tiny walkthrough

Thriller example:

• Assessment flags a saggy middle and a timeline snarl.
• Developmental edit moves the reveal to chapter 10 and trims two side quests.
• Line edit tightens dialogue, removes filler beats, sharpens sensory detail.
• Copyedit standardizes police ranks, time stamps, and firearm terminology. Style sheet records every decision.
• Layout adds chapter openers with location tags.
• Proofreading catches “pubic” policy, a dropped 9 in “9:45,” and a widow on page one.

Same path, fewer headaches, better book.

How to Choose the Right Book Editor and Budget Wisely

You want an editor who makes the book stronger without flattening your voice. Start with fit, then lock down scope and money. A steady process beats guesswork.

Start with fit, not price

• Match on genre. A thriller specialist reads pacing one way. A literary editor listens for subtext. A business editor cares about logic and proof. Pick someone who knows your lane.
• Training helps. Look for EFA, CIEP, or ACES membership or courses. Also ask about in-house experience, house styles, and recent projects.
• Read samples or published credits. Ask for a few titles by name. Read pages, not covers.

Quick test:

• Describe your book in one sentence. Premise, audience, outcome.
• Ask the editor to reflect that back in their own words. If the response sounds like your intent, trust grows.

Use a sample edit to test chemistry

Request a one to two page sample on a representative passage. Middle-of-the-pack pages work best, not your best paragraph and not a messy outtake.

What to look for:

• Respect for voice. Word choices feel like you, only sharper.
• Clear reasoning. Comments explain the why, not only the change.
• Specifics. Notes reference lines, scenes, or claims, not vague feelings.
• Tone. Firm, kind, and practical. No snark.

Avoid excerpts with heavy worldbuilding jargon or unique formatting for this test. Aim for typical prose instead of outliers.

Simple request template:

Subject: Sample edit request for [Title], 82k thriller

Hello [Name],

I’m seeking a [developmental edit | line edit | copyedit] for an 82,000-word thriller aimed at readers of Lee Child and Tana French. Goal, query to agents in August.

Would you complete a one-page sample on the attached chapter 6 excerpt? I’m looking to assess voice protection, clarity of comments, and fit. If available, please share recent projects in this genre and a typical timeline.

Thanks,
[Your Name]

Nail the contract before anyone starts

A clear agreement protects both sides. Insist on:

• Word count locked at booking, with a policy for growth.
• Level of edit, with a one-line definition in plain language.
• Deliverables. Editorial letter length, Track Changes file, style sheet, one follow-up call or email window.
• Number of passes. One pass with a query round, or two passes with set dates.
• Timeline. Start date, handoff date, your revision window, final lock date.
• Payment schedule. Deposit to hold the slot, mid-point, final on delivery.
• Confidentiality and rights. Your file stays private. Your voice and decisions remain yours.
• Kill fee and reschedule terms. Life happens. Agree on what happens next.

Ask which style guide the editor uses. Chicago Manual of Style for books is common, with Merriam-Webster or Oxford for spelling.

Understand pricing without guesswork

Editors price by word, by hour, or by project. Complexity, heavy research, references, and rush timelines raise cost.

Typical ranges in USD, not promises, a starting lens:

• Manuscript assessment: 400 to 1,500.
• Developmental edit: 0.03 to 0.09 per word.
• Line edit: 0.02 to 0.05 per word.
• Copyedit: 0.018 to 0.04 per word.
• Proofread on designed pages: 0.01 to 0.02 per word.

Example budgets for an 80,000-word novel:

• Developmental edit at 0.04 per word, 3,200.
• Line edit at 0.035 per word, 2,800.
• Copyedit at 0.02 per word, 1,600.
• Proofread at 0.012 per word, 960.

Rush fees often add 25 to 50 percent. Multiple rounds extend timelines and budgets. Plan breathing room between passes.

Money-saving moves that protect quality:

• Fix obvious issues before hiring. Repetitions, throat clearing, logic holes.
• Lock structure before line or copy work. Big moves late waste money.
• Share a style sheet early. Names, hyphenation, numbers, locale.

Red flags worth walking away from

• Promises of bestseller lists or agent introductions.
• No scope in writing, or a refusal to use Track Changes.
• A quote far below market with a one-week promise on a full-length book.
• Heavy rewrites in the sample without explanation.
• Dismissive tone toward your goals or audience.
• No references, no portfolio, no contract.

A clean way to shortlist

Pick three editors. Send the same request and the same pages. Compare side by side.

Score each on:

• Genre experience.
• Sample quality.
• Voice protection.
• Clarity of notes.
• Project plan and timeline.
• Price and payment schedule.
• Professionalism in email and scheduling.

Choose the editor who asks smart questions about reader needs, outcome, and success measures. Look for questions about your comps, positioning, and schedule. Curiosity signals care.

A tiny case study

A memoir writer hired a line editor before fixing structure. Beautiful sentences, weak arc. Money spent, revision still ahead. Round two, a developmental edit reshaped chapters, tightened the throughline, and cut three digressions. Later line and copy passes finished the job with half the churn. Same budget overall, far less pain.

Final checklist

• One-sentence pitch, target reader, and goal stated in your inquiry.
• Sample edit requested on mid-book pages.
• Contract signed with scope, dates, and deliverables.
• Style guide and dictionary chosen.
• Budget aligned with level of edit and timeline.
• Change log and style sheet set up before work begins.

Pick for fit, plan for stages, guard your voice. Your future readers will feel the difference.

Preparing Your Manuscript for Editing (Self-Edit Checklist)

Editors do their best work with a clean, coherent draft. You save money, shorten timelines, and protect your voice when you prep first. Think of this as sharpening the blade before the cut.

Structural readiness

Get the bones in order before anyone fusses with sentences.

• Write a one-sentence premise or thesis.
  • Fiction template: When a [flawed protagonist] must [goal], they risk [stakes] to [core action].
    • Example: A burnt-out paramedic takes one last night shift in a flooded city and uncovers a rescue scam that endangers her crew.
  • Nonfiction template: This book helps [audience] achieve [outcome] by [method], with [proof or angle].
    • Example: This book helps first-time managers run effective one-on-ones by using four repeatable agendas and plain-language scripts.
• Build a scene or chapter list.
  • For each item, note location, purpose, and change. If nothing changes, merge or cut.
  • Color-code plotlines or arguments to check balance across the book.
• Check stakes, logic, and throughline.
  • Map cause and effect. Because X, Y happens. Because Y, Z follows. Any breaks signal missing setup.
  • For nonfiction, link each chapter to the main promise. Promise, proof, action. If a chapter offers none of the three, rework it or move it to an appendix.

Mini-exercise, 20 minutes:

• Write a 100-word summary of the whole book in plain language. No subplots, no sidebars.
• Read it aloud. If you trip, structure needs work. Fix the summary first, then adjust the manuscript to match.

Voice and clarity

Your voice should feel consistent and confident. Help readers stay with you.

• Cut throat-clearing.
  • Before: In this chapter, I would like to take a moment to discuss the topic of failure.
  • After: Failure teaches faster than praise.
• Trim repetition.
  • Search for repeated ideas in back-to-back paragraphs. Combine or move them.
  • Pick one strong verb where you used two weaker ones.
• Keep point of view stable.
  • Fiction: one viewpoint per scene. Mark scenes where you jump into another skull. Move those thoughts into action or dialogue, or shift the scene break.
  • Nonfiction: choose a stance and stick to it. You or we. Expert or guide beside the reader. Consistency builds trust.
• Read aloud.
  • Mouths catch clunky rhythm faster than eyes. Record a page. Listen for tangles, filler, or vague terms.

Consistency and accuracy

Build a simple style sheet. Editors love one. You will too.

Include:

• Spelling choice, US or UK.
• Dictionary, Merriam-Webster or Oxford.
• Hyphenation preferences, email vs e-mail, decision-making vs decision making.
• Numbers, numerals vs words, dates, time format.
• Capitalization rules, job titles, departments, product names.
• Names, places, timelines, ages.
• Terms, acronyms, first use spelled out.
• Dialogue quirks, slang, foreign words, italics policy.

Now verify high-risk details:

• Dates and timelines. Create a calendar and slot key events. Check for weekend birthdays and leap years.
• Quotes and citations. Track sources with page numbers or links. Pull the book off the shelf or the PDF and confirm wording.
• Measurements, currencies, and legal claims. Mark anything tied to safety, health, money, or law for extra scrutiny.

Formatting basics

Make the file easy to read and edit.

• Standard manuscript format:
  • 12-point legible font, Times New Roman or similar.
  • Double-spaced body text.
  • One-inch margins.
  • Left-aligned, ragged right.
  • First-line paragraph indent set in styles, not tabs. 0.5 inch works.
  • No extra space between paragraphs, unless nonfiction design needs it for lists or subheads.
  • Chapter headings styled consistently.
  • Page numbers in the header or footer with your surname and brief title.
• Clean the file:
  • Accept or reject all tracked changes. Remove comments you no longer need.
  • One document, one order. No version fragments in email threads.
  • Use plain ellipses, proper quotation marks, and a single space between sentences.
  • Insert scene breaks with a blank line and three asterisks, not creative symbols.

Smart tools, smart limits

Use tools for consistency, not for voice decisions.

• Run a targeted pass in ProWritingAid or Grammarly for typos, missing words, repetition, and subject-verb agreement.
• Use PerfectIt for style sheet alignment, lists in parallel form, hyphenation patterns, and abbreviation checks.
• Review suggestions with intent. Accept the mechanical wins. Leave any change that weakens rhythm or voice. Flag unsure spots with a comment for your editor.

Quick setup:

• Set your document language to US or UK English before you start.
• Add names and invented terms to your custom dictionary.

Beta readers who help, not derail

Bring in two or three readers from your target audience. No partners, no parents. You want informed reactions, not approval.

Give a short brief:

• Who this book serves.
• What you want the reader to feel or do by the end.
• Deadline and word count.

Offer focused questions:

• Where did your attention dip?
• Which chapter or scene felt slow or thin?
• Any terms you did not understand?
• For fiction, where did you stop rooting for the protagonist?
• For nonfiction, what takeaway sticks in your mind a day later?

Collect notes, then look for patterns. One outlier is opinion. Two or more readers flagging the same spot signals a fix. Make those changes first.

Quick pre-edit checklist

• Premise or thesis trimmed to one sentence.
• Scene or chapter list with purpose and change for each entry.
• Stakes, logic, and throughline checked with a 100-word summary.
• Voice steady, repetition trimmed, clear POV or stance.
• Style sheet started, key facts verified.
• Standard manuscript format applied, file cleaned.
• Tool passes complete, human judgment preserved.
• Two to three beta readers weighed in, obvious fixes done.

Do this prep and your editor walks into a tidy kitchen. More time on substance, less on crumbs. Your future readers feel that care on every page.

Advanced Considerations for Publishing Success

You have a solid draft. Now think like a publisher. Decisions here shape the reading experience, print files, and launch.

Two paths, two plans

Traditional route:

• Agents and editors expect a tight, professional manuscript. A developmental pass before querying helps you clear structural noise.
• If you land a deal, the house handles copyediting, layout, and proofreading. You still review passes, answer style questions, and approve changes.
• Keep your style sheet and timeline handy. House teams move fast. Clear answers keep your voice intact.

Independent route:

• You assemble the team, editor, cover designer, interior designer, formatter, proofreader.
• Map your schedule. Edit, revise, copyedit, layout, proofread, upload. Skipping steps forces rework and drains budget.
• Use written scopes for every hire. Define deliverables, number of passes, and dates. Fewer surprises, stronger book.

Quick test:

• Write your publishing plan on one page. If a step sits after upload, move it earlier or cut it.

Production handoffs and page proofs

Once layout is complete, you review designed pages. This is a different skill from editing in Word. You are checking how words live on a page.

What to scan, page by page:

• Widows and orphans, a first or last line stranded at the top or bottom of a page.
• Bad hyphenation, split names, awkward word breaks, stacked hyphens.
• Rivers, visible white gaps in justified text.
• Uneven letterspacing or odd kerning in headings.
• Running heads and folios, correct book title, author name, chapter titles, page numbers in the right spots.
• Scene breaks and blank space, clear and consistent markers.
• Figure and table placement, near their mentions, not before context.
• Caption accuracy, numbering, and references that match the text.
• Page turns, tense moments should turn the page, not stall mid-paragraph.

Fifteen-minute drill:

• Print five consecutive pages. Use a ruler and a pencil. Mark every hyphen, every header, every folio. You will see more on paper than on a screen.

Nonfiction extras

Nonfiction brings extra parts. Handle them early to avoid legal or production snags.

Permissions:

• Lyrics, poems, long quotes, charts, and photos often need permission. Fair use is narrow. When in doubt, license or replace with paraphrase.
• Keep a permissions log with source, rights holder, request date, fee, and credit line. Store proof of permission with your files.

References:

• Choose a citation style, Chicago notes, APA, MLA. Stay consistent.
• Track sources as you write, author, title, publisher, date, page, URL. Retroactive hunting wastes hours and introduces errors.

Indexing:

• Hire a professional indexer after layout. An index requires final page numbers. Do not build it off a manuscript.
• Share your style sheet and audience notes with the indexer so entries match reader needs.

Figures and tables:

• Number in order of appearance. Reference by number in the text, not “the table below.”
• Write concise captions that state purpose and takeaway. Align each with the chapter goal, not with trivia.

Inclusivity and risk

Your words land in the real world. Bring in expert eyes when stakes are high.

Sensitivity reading:

• Ask a reader with lived experience to review portrayals of identity, culture, health, or history. The goal is accuracy and respect without flattening voice.
• Give context, audience, and your aims. Ask for flags and alternatives, not line rewrites.

Light fact-checking:

• Highlight health advice, financial guidance, legal claims, statistics, and historical assertions. Verify with primary sources when possible.
• Keep a source list with links or scans. Editors love receipts.

Memoir and narrative risk:

• Change nonpublic names, mask identifiers, and confirm timelines. Share-job allegations and crimes with a lawyer before publication.
• Add a note on composite characters or time compression if used. Clarity avoids confusion and bad faith readings.

Metadata and launch

Metadata sells your book while you sleep. Tidy metadata, stronger reach.

Lock these elements:

• Title and subtitle, clear promise, searchable terms, honest scope.
• BISAC categories, pick three that match reader expectations.
• Keywords, phrases readers type, not poetic tags.
• Series name and numbering if relevant.
• Book description, online and back cover, same core message, different length.

Simple back-cover formula:

• Hook in one line.
• Promise in one sentence.
• Proof, brief bio, credentials, social proof if you have it.
• Call to action, read on to learn, follow, solve, change.

ARCs and early reviews:

• Prepare advance reader files after copyediting, before layout if you want speed, or after layout if you want a closer-to-final look.
• Offer to a small list, librarians, booksellers, subject experts, niche reviewers. Track who got which version.

Two quick exercises:

• List five comp titles in your lane. Borrow the rhythm of their subtitles, not the wording.
• Write three versions of your description, 50, 150, and 250 words. Use the same hook and promise in each.

Actionable timeline and file hygiene

Protect the finish line. Small habits here prevent expensive do-overs.

• Schedule proofreading one to two weeks after layout. Give your eyes a break. Fresh vision finds more.
• Lock your style sheet before proofreading. Spelling, hyphenation, and numbers stay consistent across the series and later editions.
• Name files with version control, BookTitle_v24_CEfixes.docx, BookTitle_Interior_v07_PROOF.pdf.
• Keep a change log with date, page, issue, fix, owner. Editors, designers, and you speak the same language when pages shift.
• Maintain an errata list after launch. Correct ebooks fast. Queue print changes for the next run or a planned update.

This is the work readers never see, yet they feel every decision. Smooth pages. Clean claims. A promise kept from cover to last line.

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