What Is The Meaning Of Book Editing

Gary Smailes | 3 November 2025

What book editing is

Editing is a structured process. The goal is clarity, coherence, accuracy, and a smooth reading experience. Far beyond fixing typos.

Meaning first

Editors read for meaning. Does the structure carry the message you want? Does the voice serve the audience you hope to reach? Does pacing pull readers forward?

Expect questions more than commands. A good margin note sounds like this:

• What does Maya want by chapter three?
• Stakes feel low during the midpoint. What goes wrong here?
• Tone shifts toward satire in chapter six. Intentional?

Those prompts steer decisions without stealing your authority. You keep the voice. You decide the fix. Editors surface problems and offer options.

Mini exercise:

• Write a one-line promise for chapter one. Example, “Reader will know who killed Victor by the end.”
• Mark the payoff. If the payoff sits far away, flag a gap in structure or pacing.

Not ghostwriting

Editors refine your words. Editors do not replace your voice. Heavy rewrites that flatten rhythm or personality miss the point. Push back when a change sounds unlike you. Ask for alternatives that preserve tone while solving the problem.

Here is a quick line edit to show the difference.

Before:

She started to feel a sense of panic rising up inside, and she ran quickly toward the door in order to get out of there.

After:

Panic rose. She ran for the door.

Same meaning. Cleaner rhythm. Your voice stays intact.

Outcomes on the page

Editing aims for outcomes you can feel.

• A clearer argument in nonfiction, with claims, support, and sources lined up.
• A stronger narrative spine in fiction, with goals, conflict, and stakes on the page.
• Consistent terms. If chapter two says e-mail, chapter nine should not switch to email without a reason.
• Fewer speed bumps. No repeated facts, no timeline slips, no name changes mid-book.
• Professional polish. A reader moves through the work without confusion or doubt.

A sequence, not a single pass

Think macro to micro. Each stage serves a different purpose. Stack them in order and the work moves faster.

• Developmental edit. Structure, plot, character arcs, argument logic, theme, market fit. The editor writes an editorial letter. Margin queries point to gaps, redundancy, and missed payoffs. Expect big changes here. Scene moves. Reordered chapters. New beats.
• Line edit. Sentence-level meaning and music. Tone, rhythm, imagery, continuity of voice. Expect trims, rephrasing, and notes on tension within paragraphs. Dialogue tags, interiority, transitions.
• Copyediting. Grammar, usage, punctuation, mechanics, and consistency. A style sheet records decisions. Hyphenation, numerals, capitalization, spellings, character names, timeline details. Light fact checks for obvious slips. Track Changes shows every tweak.
• Proofreading. Final pass on designed pages. Typos, punctuation slips, wrong page numbers, headers, bad breaks, widows and orphans, image captions, table notes. This pass protects the reader experience after layout.

A short roadmap for a typical project:

1. Developmental edit with letter and queries.
2. Author revision round.
3. Line edit with tracked changes.
4. Author review.
5. Copyedit with style sheet.
6. Typesetting.
7. Proofreading on proofs.

Why the structure matters

When big problems stay unsolved, later stages unravel. A copyedit on wobbly structure wastes money. Fixing commas in a chapter that will be cut helps nobody. Move through the funnel in order and each dollar works harder.

Quick self-check before hiring help:

• Write a reverse outline. One sentence per scene or section. Does the sequence build?
• Read the first page out loud. Does the voice match your comps?
• Pick three chapter endings at random. Do they invite a page turn?

What you receive

A professional edit leaves a trail you can use.

• Tracked changes and margin comments in a .docx file.
• An editorial letter for macro notes where relevant.
• A style sheet that documents decisions, which reduces churn in later rounds.
• A clean file for easy reading plus a marked file for review.

Editing respects your intent. The process aligns structure, voice, pacing, and style with audience expectations. The result is a manuscript ready for design and then for readers.

Types of book editing and what each fixes

Each type of edit serves a different purpose. Know which one you need before you hire.

Developmental editing

This is the big-picture pass. Structure, plot holes, character motivations, argument logic, pacing problems, thematic clarity, and market positioning.

A developmental editor reads like your ideal reader, then writes like a story consultant. Expect an editorial letter that runs several pages. Margin queries highlight specific trouble spots. The focus stays on meaning and impact.

Sample developmental feedback:

• Chapter three introduces too many characters. Reader confusion peaks here.
• The romance subplot disappears for sixty pages. Bring it back or cut it.
• Your argument needs stronger evidence in section two. Three studies won't carry the claim.
• Stakes drop after the midpoint. What goes wrong for Maya?

Choose developmental editing when:

• Beta readers say "something feels off" but name different problems.
• You know scenes need to move but you're not sure where.
• Characters act inconsistently and you need fresh eyes on motivation.
• The structure works in outline but drags on the page.

Line editing (stylistic editing)

This is sentence-level work. Clarity, tone, rhythm, imagery, voice consistency, and the music between words.

Line editors trim fat, smooth transitions, and polish voice. They catch repetitive sentence patterns, weak verbs, and muddy metaphors. The meaning stays yours. The delivery gets sharper.

Before line editing:

The rain was falling heavily on the roof of the old house, and Sarah could hear it as she sat in the living room, feeling a sense of melancholy that seemed to match the weather outside.

After line editing:

Rain hammered the roof. Sarah sat in the living room, melancholy matching the weather.

Choose line editing when:

• Structure feels solid but prose needs refinement.
• Voice wavers between chapters or sections.
• Sentences work individually but paragraphs feel choppy.
• You want stronger rhythm and flow.

Copyediting

This is mechanics and consistency. Grammar, usage, punctuation, fact-checking, style sheet creation, and alignment with publishing standards.

Copyeditors create a style sheet. Every decision gets recorded. Hyphenation (e-mail or email), numerals (twelve or 12), dialogue formatting, character name spellings, timeline details, world-building terms. Consistency protects the reader experience.

Light fact-checking happens here. Obvious errors get flagged. The editor won't verify every claim but will catch dates that don't match, character names that shift, and timeline problems.

Choose copyediting when:

• Structure and prose feel ready.
• You need consistency across a long manuscript.
• Grammar and punctuation need professional polish.
• You're preparing for design and layout.

Proofreading

This is the final safety net. Typos, punctuation slips, page numbers, headers, bad line breaks, widows and orphans, image captions, and layout glitches.

Proofreaders work on designed pages, not Word documents. The book looks like a book. They catch errors introduced during typesetting plus any problems that survived earlier rounds.

Common proofreading fixes:

• "Teh" instead of "the"
• Missing quotation marks
• Wrong page headers
• Orphaned lines at page tops
• Caption alignment problems

Choose proofreading when:

• The manuscript is typeset and designed.
• You need a final quality check before printing or digital publication.
• All content changes are complete.

Manuscript assessment

This is diagnosis before treatment. A high-level editorial letter that identifies strengths, weaknesses, and priorities for revision.

Assessments cost less than full developmental edits. You get guidance on what to fix and in what order. No line-by-line markup. No tracked changes. Just strategic direction.

Sample assessment feedback:

• Strong premise but weak character development in chapters 1-3.
• Pacing drags in the middle third. Consider cutting subplots X and Y.
• Market positioning feels unclear. Your comp titles suggest different audiences.
• Voice works well but needs consistency in dialogue tags.

Choose manuscript assessment when:

• You need direction before committing to a full edit.
• Multiple beta readers gave conflicting feedback.
• Budget is tight and you want to prioritize problems.
• You're between drafts and need a roadmap.

Sensitivity reading

This addresses representation and cultural accuracy. Identity, experience, historical context, language use, and potential harm to communities.

Sensitivity readers bring lived experience to your work. They flag stereotypes, inaccuracies, and missed opportunities for authentic representation. This is specialized expertise, not general editing.

Schedule sensitivity reading before copyediting. Late changes in representation require rewrites that mess up established style sheets.

Choose sensitivity reading when:

• Writing outside your lived experience.
• Including historical trauma or marginalized communities.
• Publisher or agent requests it.
• You want to avoid causing harm through ignorance.

Matching edit type to manuscript stage

Early draft with structural problems? Start with assessment or developmental editing.

Structure works but prose needs polish? Line editing first, then copyediting.

Ready for publication? Copyediting, then typesetting, then proofreading.

Each stage builds on the previous work. Skip stages and problems multiply. A copyedit on a structurally broken manuscript wastes money. Proofreading before typesetting catches nothing useful.

What you get from each type

Developmental edit: Editorial letter plus margin queries in Word.

Line edit: Tracked changes with comments on style and flow.

Copyedit: Tracked changes plus style sheet documenting decisions.

Proofread: Marked PDF with corrections noted.

Assessment: Editorial letter with priorities and recommendations.

Sensitivity read: Report on representation issues with suggested changes.

Know your manuscript's stage. Choose the right edit. Your money works harder and the book gets stronger.

The book editing workflow from draft to final proof

A smooth edit follows a clear path. You begin with a short conversation and a sample. You finish with clean pages ready for print or digital release. Here is how a standard process runs.

Discovery and sample edit

Start with clarity. Share word count, genre, audience, and goals. Send a representative excerpt, not the polished prologue you love. Middle chapters reveal more about habits and blind spots.

Ask for a short sample edit. A page or two shows level, tone, and bedside manner. You see how comments land. The editor sees how much work the manuscript needs. No guesswork, no surprises.

What to include in your first message:

• Word count and genre
• One sentence on audience and promise
• Two comp titles
• Pain points, for example, pacing or voice drift
• A two to five page excerpt, double spaced

Quick example. Lina sends an 80,000 word fantasy with a tight opening and a wobbly middle. The sample edit shows strong worldbuilding, weak scene transitions, and a tendency toward stacked adjectives. Now both sides know where to focus.

Scope and contract

Once the fit feels right, pin down scope. Choose the level of edit. Agree on deliverables. Confirm number of passes, schedule, and payment terms. No vague language. No hidden steps.

A clear scope saves headaches. For a developmental edit, expect an editorial letter and margin queries. For a line edit, expect tracked changes with comments on rhythm and voice. For a copyedit, expect a style sheet and mechanical fixes. For a proofread, expect corrections on a designed PDF.

Put everything in writing:

• Level of edit
• Deliverables, editorial letter, tracked changes, style sheet, marked PDF
• Number of passes
• Start and finish dates
• Fee, payment schedule, refund policy
• Confidentiality and rights

First pass, macro to micro

Start big, then move smaller. Structure comes before sentences. Sentences come before commas. A strong plan prevents rework.

During a developmental pass, expect questions in the margins that prompt decisions. An editor will not rewrite the book. An editor will press for clarity.

Sample queries you might see:

• The midpoint turns on a reveal. What does the lead want before and after that scene?
• Chapter order feels off. Would a swap between 6 and 8 raise tension?
• The argument in section two relies on one study. Add two more sources or narrow the claim.
• Tone shifts in chapter five. Same narrator, different vibe. Reconcile voice.

For a line pass, attention moves to prose. Rhythm, flow, image, and tone. Repetitions get trimmed. Flabby phrasing gets tightened. Your voice grows sharper, not flatter.

Author revisions

Now you respond. Read the editorial letter first, then skim comments, then tackle chapters. Try a triage method.

• Quick wins, easy fixes and global tweaks
• Medium lifts, scene cuts, new links, small inserts
• Heavy lifts, rewrites, new chapters, rethinking stakes

Work in a new file. Name versions clearly, for example, Novel_v3_after_dev.docx. Answer queries in the margins. If a suggestion feels off, ask for another route. Many options lead to clarity.

Set a return date you can meet. Short bursts beat marathon panic. Send questions in batches rather than drips. Momentum helps both sides.

Subsequent passes

Once structure and prose hold steady, move to copyediting. Mechanics and consistency now rule the day. Grammar, usage, punctuation, and fact checks. A style sheet tracks spelling, hyphenation, capitalization, numerals, dialogue formatting, and terminology. The manuscript begins to read as one unified piece.

After design, schedule proofreading. Proofreaders work on the designed file, not a Word document. The book looks like a book. Fresh eyes hunt for typos, bad breaks, wrong headers, page number glitches, and off-kilter spacing. Expect notes on widows and orphans, figure placement, and captions.

Order matters. A proofread before layout wastes time. Changes during design often introduce small errors. The final pass catches those.

Tools and standards

Use the same tools so collaboration stays clean.

• Word with Track Changes and comments
• PDFs for proofs, with comment tools turned on
• A shared folder with version control
• The Chicago Manual of Style as the main guide
• Merriam-Webster for spelling
• Any house style or series bible, if relevant

Agree on US or UK spelling. Agree on numerals, dates, and time formats. Agree on how internal thoughts appear. All of this goes on the style sheet. Consistency lowers cognitive load for readers and helps future books in the same series.

Small habits make a big difference:

• Name files with dates and version numbers
• Reply inside comments so threads stay together
• Keep a running list of global changes, for example, healers become medics

Handover

At the end, expect two sets of files, one clean and one marked. The clean file reflects all accepted changes. The marked file shows edits and comments for reference. You also receive a style sheet, usually one to three pages, covering spelling choices, hyphenation, capitalization, characters, locations, and a timeline.

Review the package:

• Clean manuscript file
• Marked manuscript file with comments
• Style sheet, version date in the header
• Proof PDF with corrections, if proofreading occurred
• A brief summary of work done and any open questions

Archive everything. Keep the style sheet close during marketing, audiobook production, and future installments. Consistency travels.

A quick workflow recap

• Discovery and sample edit confirm fit and level
• Scope and contract lock the plan
• First pass focuses on structure or prose, not commas
• You revise with a triage plan and clear versioning
• Copyediting cleans mechanics and builds a style sheet
• Proofreading on designed pages catches final errors
• Handover delivers clean and marked files plus a reliable record of decisions

Follow this path and the edit stays orderly. Your book benefits. Your future self will thank you when book two rolls around.

Collaboration, voice, and editorial standards

Editing works best as a partnership. Your voice leads. Standards hold the line. Clear talk keeps both alive.

Preserve your voice

Voice is the fingerprint in your sentences. A good edit sharpens meaning without sanding off edges.

Watch for rewrites that replace rhythm with bland correctness. Here is a simple example.

• Author line: I keep a list of grudges in the junk drawer, right next to the takeout menus.
• Flattened edit: I store my list of grievances in a drawer next to restaurant menus.
• Better edit: I keep a list of grudges in the junk drawer, next to the takeout menus.

See the goal. Precision without dulling tone.

How to guard your sound:

• Read edits aloud. If your mouth stumbles, or the music dies, flag the spot.
• Ask for clarifying questions, not silent rewrites.
• Offer a short voice guide. Two paragraphs that feel like you on a good day.

Mini exercise: copy a page of your draft into a new file. Cut every extra qualifier and hedge. Keep one strong image per paragraph. Read it out loud. Does it still sound like you. Good. Move on.

Communicate early

Before work begins, align on targets. Be plain.

• Voice aims, dry wit, lush, plainspoken, brisk
• Genre conventions, heat level, point of view limits, chapter length range
• Sensitivity areas, topics to tread softly, words to avoid, communities involved
• Three comp titles, one for tone, one for pacing, one for audience fit

Give examples. Do not say, make it funny. Say, think Jenny Lawson level of chaos, minus footnotes. Or, tighten like Tana French chapter endings, not cliffhangers, more quiet hooks.

Share any boundaries. If you write from lived experience, say so. If a character names a group in a way that fits period or voice, note intent. Context helps an editor suggest fixes without erasing nuance.

Respond to queries thoughtfully

Most progress arrives through margin notes. Good queries open doors. They do not shove.

Examples of useful prompts:

• Goal check, What does Marcus want in this scene. Does he get it.
• Logic, She left the house at 8, arrived at school by 8:05, the bus ride takes 20 minutes.
• Stakes, If the recipe fails, what happens to the restaurant.
• Continuity, The dog is a beagle here, earlier you called him a mastiff.

If a fix feels wrong, ask for options. Say, the cadence slips here. Suggest three new ways to say the same thing. Or, the joke veers off voice. Offer a version with fewer syllables.

Set a rhythm for replies. Batch answers twice a week. Use short notes. Yes, No, Try this angle. Faster than long essays and easier to track.

Use a style sheet

Memory fades. A style sheet does not. It records decisions and keeps everyone honest across edits, design, marketing, and book two.

What to include:

• Spelling choice, US or UK, plus dictionary, for example, Merriam-Webster
• Hyphenation rules, email or e-mail, decision recorded
• Capitalization, Black vs black, Internet vs internet, ranks and titles
• Numbers, numerals vs words, dates, time format, ranges
• Dialogue format, single or double quotes, thoughts in italics or not
• Worldbuilding terms, place names, invented tech, magical rules, character names and nicknames
• Timeline anchors, ages, holidays, day-of-week checks

Keep the sheet concise. One to three pages. Update the header with version date. Share it with every partner, designer, narrator, publicist.

Mini exercise: skim ten pages and list every decision point, spelling, hyphen, capital, number, slang. Build your first sheet from that list.

Ethics and expectations

Trust is part of the work. You write beyond your comfort zone. Editors read with care.

• Confidentiality holds. No quotes from your pages in portfolios without permission.
• Rights stay with you. An editor does not reuse your material in any form.
• Accuracy matters. An editor avoids adding new errors during changes. Flag uncertain facts rather than invent.
• Boundaries count. No pressure to include scenes you do not want.

Authors have duties too.

• Share full context, target reader, comps, series plan, content warnings
• Deliver files on time, double spaced, standard fonts, clean of tracked changes unless requested
• Name files clearly, Project_Title_v2_from_author.docx
• Answer queries within the agreed window
• Speak up early if scope shifts, a new chapter, a new subplot

If trouble bubbles up, raise it before resentment sets teeth. A quick video call or a single page note often clears the fog.

A small checklist for smooth collaboration

• Before kickoff, swap two pages of notes on voice and goals
• During edits, reply in comment threads, not in email
• Keep a running list of global tweaks, for example, ranger becomes warden
• Lock the style sheet after copyedit, only add design notes later
• Respect rest days, brains need space to solve problems

Good collaboration lifts the book and saves your voice. Standards carry it across the finish line without wobble. That is the point of editing, a book that speaks in your voice and reads with ease.

Preparing your manuscript for a successful edit

The difference between a smooth edit and a bumpy one often starts before the editor opens your file. Good preparation saves time, money, and your sanity.

Rest, then self-edit

Step away from your manuscript. One to four weeks minimum. You need distance to see what you wrote, not what you meant to write.

When you return, read like a stranger. Print the whole thing if you have to. Your brain processes text differently on paper.

Start with structure. Build a reverse outline. Write one sentence for each chapter or section. What happens. What changes. Stack these sentences and look for gaps, repetitions, or scenes that wander off course.

Next, track your characters. Make a simple chart with names, ages, descriptions, and key traits. Note where each person enters and exits. Watch for vanishing characters, changing eye colors, and forgotten subplots.

Then tackle prose clarity. Read paragraphs aloud. Mark spots where you stumble, backtrack, or lose the thread. Circle every sentence longer than twenty-five words. Most need splitting.

Here is a quick self-edit checklist:

• Does each chapter advance the story or argument
• Do characters sound distinct when they speak
• Are transitions clear between scenes and time jumps
• Can you cut any scenes without losing meaning
• Does the ending pay off promises made in the opening

Be ruthless. Fix what you see. Your editor will catch deeper issues, but clean up the obvious first.

Standardize formatting

Editors work faster with consistent files. Standard formatting means fewer distractions and clearer focus on your words.

Use these settings:

• File format: .docx (not .doc, .pdf, or .pages)
• Font: 12-point serif (Times New Roman, Garamond, or Book Antiqua)
• Line spacing: double throughout
• Margins: one inch on all sides
• Alignment: left (not justified)
• Paragraph indent: 0.5 inches (use the ruler, not the tab key)
• Page breaks: only at chapter ends (Insert > Page Break)

Chapter headers stay simple. "Chapter 1" or "1. The Beginning" works fine. Center them or left-align them, pick one style and stick with it.

Remove these formatting traps:

• Manual tabs (use paragraph indent instead)
• Double spaces after periods
• Extra line breaks between paragraphs
• Headers and footers with your name (editors add their own)
• Comments from previous readers (clean slate)

Check your file by turning on paragraph marks (¶ symbol in Word). You will see every space, tab, and break. Clean up the mess.

Build a pre-edit checklist

Every writer has patterns. Identify yours before your editor does.

Run these searches in Word (Ctrl+F):

• Filter words: just, really, very, quite, rather, somewhat
• Weak verbs: was, were, had, got, went, came
• Repetitive phrases: your favorite crutch words
• Passive voice: was [verb]ed, were [verb]ed constructions
• Dialogue tags: search for "said" and "asked" to spot overuse

Timeline consistency matters. Make a simple calendar for your story. Mark key events, birthdays, holidays, and seasonal references. Check that spring does not arrive twice, birthdays align with stated ages, and travel time makes sense.

Placeholder facts need attention. Search for brackets, question marks, and TK (journalism shorthand for "to come"). Replace [character name], [town in Ohio], and [check this date] with real information.

Look for these common slips:

• Characters who change names mid-story (Mike becomes Michael)
• Physical descriptions that shift (green eyes become blue)
• Factual errors you know are wrong but never fixed
• Missing scenes you reference but never wrote

Fact-check essentials

Your editor will catch grammar mistakes. Factual errors are your job.

Verify these items:

• Names: people, places, businesses, organizations
• Dates: historical events, cultural references, technology
• Locations: geography, distances, time zones, local details
• Citations: quotes, statistics, source material
• Permissions: song lyrics, lengthy quotes, trademarked terms
• Translations: foreign phrases, technical terms, slang

For historical fiction, check period details. When were zippers invented (1893, but not widely used until the 1920s). Did your 1880s character really use that phrase.

For contemporary settings, verify current facts. Company names change. Restaurants close. Streets get renamed. A quick online search saves embarrassment.

Flag uncertain items for your editor. Write [TK: verify this date] or [TK: is this the right term] in brackets. Better to admit gaps than guess wrong.

Keep a separate document with sources. Your editor might need to double-check claims or suggest alternatives.

Provide context

Help your editor understand your goals. A two-page brief saves hours of back-and-forth.

Include these details:

Target audience: Middle-grade readers, literary fiction fans, business professionals, romance readers who love small towns

Comparison titles: Name three published books. One for tone, one for audience, one for market position. Be specific. "Like Gone Girl but set in a bakery" tells a story.

Series information: Standalone or book one of five. Recurring characters. Ongoing plot threads that carry forward.

Content warnings: Violence levels, sexual content, trauma themes, potentially triggering material. Better to flag than surprise.

Style preferences: Chicago Manual of Style (standard for fiction), AP Stylebook (journalism), MLA (academic). If you have no preference, say so.

Dictionary choice: Merriam-Webster (US standard), Oxford (UK preference). Consistency matters for spelling decisions.

Special considerations: Real locations you want to keep accurate, technical fields you work in, cultural backgrounds you are writing from experience.

Timeline: When you need the edit back, when you plan to publish, any hard deadlines that affect scope.

Share this context upfront. Your editor will tailor the approach to match your needs instead of guessing.

A final pre-edit checklist

Before you hit send:

• File saved with a clear name: AuthorName_BookTitle_Draft1.docx
• Formatting checked and standardized
• Self-edit complete, obvious issues fixed
• Context document attached
• Contact information current (editors need to reach you for questions)
• Backup copy saved (computers crash, files corrupt)

Good preparation creates better edits. Your editor spends time on craft instead of cleanup. You get sharper feedback and a stronger manuscript. Everyone wins.

Remember, this groundwork is not wasted effort. Every hour you spend preparing saves two hours in revision rounds. Your future self will thank you when changes make sense and deadlines hold steady.

Choosing the right editor and level for your goals

Hiring an editor is like choosing a coach. You want skill, honesty, and a bedside manner that helps you improve without flattening your voice. The right fit saves you rounds of fixes. The wrong fit drains time and budget.

Match expertise, not vibes

Start with genre. A thriller editor reads pacing and stakes in their sleep. A memoir editor spots truth and structure issues fast. Ask for recent titles in your lane. Look for testimonials that mention the results you want, not vague praise.

Request a short sample edit, 1 to 5 pages from the middle of your manuscript. The middle shows average prose, not polished opening pages.

How to read a sample edit:

• Are changes explained with reasons, not preferences
• Do comments ask smart questions that reveal blind spots
• Does the voice still sound like you
• Do they flag patterns, not random one-off tweaks
• Are they catching the right level issues for the service you asked about

If the sample feels harsh but clear, that is often good. If it feels like a rewrite that swaps your voice for theirs, walk away.

Clarify your needs before you ask for quotes

Answer three quick checks.

• Is the structure settled. If no, start with a manuscript assessment or developmental edit. You need a big-picture plan.
• Is the structure strong but sentences feel clunky. Choose a line edit. Aim for clarity, rhythm, and tone.
• Is the prose solid and you need correctness and consistency. Go for copyediting.
• Are you on designed pages already. Schedule proofreading.

When in doubt, ask for a level recommendation with a short rationale. Share your goals and pain points. A good editor explains what work comes first and why.

Mini test:

• Write a one-sentence logline for your book. If it wobbles, you need developmental help.
• Read one chapter aloud. If you stumble every other line, line editing sits next.
• Run a spellcheck and style pass. If most flags are hyphens and commas, copyediting follows.
• Open the PDF proof. If you see widows, orphans, and header glitches, proofreading remains.

Compare proposals apples to apples

You want clarity before you sign. Ask for the following in writing:

• Level of edit and a one-paragraph description of what it covers
• Deliverables, for example, tracked changes, editorial letter, style sheet
• Number of passes
• Word count used for pricing
• Schedule with start and finish dates
• Price and payment terms, including deposit and milestones
• Follow-up support, for example, a debrief call or one round of Q&A

Price alone misleads. An experienced editor often solves core problems in fewer passes. That saves time and headaches later. Look for specificity in notes. Vague promises hide thin work.

Two sample proposals side by side:

• Proposal A says, Line edit with tracked changes, comments focused on voice, rhythm, and clarity, one pass, 80,000 words at 2 cents per word, two-week turnaround, 30-minute follow-up call.
• Proposal B says, Edit to improve flow, one pass, price to be confirmed, timeline flexible.

Pick A. Every time.

Watch for red flags

• Guaranteed bestseller or agent interest
• Pressure to skip developmental work and jump to copyediting
• Refusal to provide a sample edit or references
• Unclear scope or no contract
• One-pass promises for complex problems
• Heavy rewrites that erase your voice
• No mention of a style sheet
• Full payment upfront with no schedule or deliverables
• Lack of familiarity with your genre norms

Trust your gut, but confirm with evidence. One phone call often reveals more than a slick website. Ask how they handle disagreement. The answer tells you everything about the collaboration ahead.

Plan your path from macro to micro

Set the order of work, then protect it.

• Developmental first. Resolve structure, plot, argument logic, and pacing.
• Line edit next. Tighten sentences, refine tone, and smooth transitions.
• Copyedit after prose decisions lock. Fix grammar, usage, and consistency. Build the style sheet here if it does not exist yet.
• Proofread on designed pages. Catch typos, layout glitches, and number errors.

Budget in stages. Typical deposits range from 25 to 50 percent. Leave margin for revisions between passes. Most authors underestimate revision time. Add one to two weeks beyond your best guess.

Change control matters. Large rewrites after copyediting explode errors. I have seen a clean copyedit turn into a new draft overnight because the author added a subplot. The proofreader then found hundreds of fresh mistakes. Protect the sequence and your future self will thank you.

A simple outreach template

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

Hello [Editor Name],

I am seeking [level of edit] for my [genre] manuscript, [Title], [word count] words. My goals: [two bullets, for example, tighten pacing in the middle, refine voice for YA readers]. Comparable titles: [Comp 1], [Comp 2]. Target audience: [short description].

Status and timeline:

• Draft status: [brief note, for example, third draft, structure stable]
• Target start date: [date]
• Target end date: [date]

Would you be open to a short sample edit of 3 pages from chapter 8. I am attaching a docx formatted to standard specs. Please include scope, deliverables, number of passes, price, and schedule in your proposal.

Thank you,

[Your Name]

[Contact]

Short, specific, and respectful. Editors love that.

Choose with your goals in view. The right partner meets you where you are, raises the level of the work, and keeps your voice intact. Set the stage now, and the rest of the process runs smoother.

Frequently Asked Questions

Download FREE ebook

Claim your free eBook today and join over 25,000 writers who have read and benefited from this ebook.

'It is probably one of the best books on writing I've read so far.' Miz Bent

Leave this empty

Get free book