The Different Types of Book Editing Explained

One of the questions I get asked most often is: "What kind of editing do I need?" It's a fair question, because the terminology is genuinely confusing. Different editors use different names for the same thing, and the boundaries between types of editing aren't always clear-cut.

Here's how I break it down, based on what I actually do with manuscripts every day.

Developmental editing

Developmental editing is the big-picture pass. This is where I look at your manuscript as a whole and assess whether it works structurally.

For fiction, that means: does the plot hold together? Are the characters compelling and consistent? Does the pacing work? Are there scenes that don't earn their place, or gaps where something's missing? Is the opening strong enough? Does the ending satisfy?

For non-fiction, I'm looking at: does the book deliver on its promise? Is the structure logical? Can the reader follow the argument? Are there gaps in the reasoning or places where you've assumed knowledge the reader won't have?

What you get back: A detailed editorial report (usually several thousand words) covering everything from structure and pacing to character and theme. Plus comments throughout the manuscript flagging specific passages. Think of it as a blueprint for your next draft.

When you need it: Early in the process, usually after your first or second draft. There's no point line-editing prose that might get cut in a structural rewrite. If you're not sure whether your book works as a whole, this is where to start.

Cost: My developmental editing starts from GBP 60 per 1,000 words. It's the most intensive type of editing, because it requires reading the entire manuscript with deep analytical attention and producing a substantial report.

In-depth editing (copyediting)

This is the level most authors need, and it's the service I do the most of. In-depth editing works at the sentence and paragraph level. I'm going through your manuscript line by line, improving clarity, tightening prose, fixing inconsistencies, and catching errors.

But here's the thing: I don't just fix commas. A good in-depth edit also catches structural and developmental issues. If a chapter isn't working, I'll tell you, even if you didn't ask for a developmental edit. If a character's motivation doesn't make sense, that's going in my comments. The difference is that I won't produce a full editorial report. The feedback is woven into the manuscript through tracked changes and comments.

What you get back: Your manuscript with tracked changes showing every edit I've made, plus comments explaining why I've changed things or suggesting alternatives. You accept or reject each change, so you always have the final say.

When you need it: When your structure is solid but the writing needs professional polish. If you're past the point of major rewrites and you need someone to make every sentence as good as it can be, this is the one.

Cost: My in-depth editing starts from GBP 40 per 1,000 words. The exact price depends on the condition of the manuscript and the genre.

Proofreading

Proofreading is the final check. It catches typos, spelling errors, punctuation mistakes, formatting inconsistencies, and minor grammatical issues. It's a light touch compared to the other types of editing.

Proofreading assumes the writing is already good. I'm not restructuring sentences or questioning your character choices. I'm making sure there are no errors in the final version.

What you get back: A clean manuscript with corrections marked. Usually far fewer comments than an in-depth edit, because the content itself shouldn't need changing at this stage.

When you need it: Right before publication, after all other editing is done. Some authors also get a proofread after typesetting, because the formatting process can introduce new errors.

Cost: Proofreading is the most affordable type of editing because it's the least intensive. I price it within my in-depth editing tier, starting from GBP 40 per 1,000 words, though straightforward proofreads often come in at the lower end.

So which one do you need?

If you can only afford one pass, and most indie authors can only afford one, I'd recommend in-depth editing. Here's why: a good in-depth editor (and I include myself in this) will catch both the sentence-level issues and the bigger structural problems. You won't get the full developmental report, but you will get comments flagging anything that isn't working at a higher level.

Developmental editing on its own leaves you with a roadmap but no line-level polish. Proofreading on its own assumes the writing is already strong, which is a big assumption if no professional has looked at it. In-depth editing sits in the middle and covers the most ground.

That said, if you know your structure needs work, if you're unsure whether the plot or argument holds together, a developmental edit first will save you time and money in the long run. There's no point paying for line editing on chapters that need rewriting.

A note on the terminology

Different editors call these things different names. What I call in-depth editing, others might call substantive editing, line editing, or copyediting. What matters isn't the label but what's actually included. Always ask an editor what their service covers before booking. A "copyedit" from one editor might be a light proofread from another.

I keep my service descriptions specific on my editing services page so there's no ambiguity about what you're getting.

Not sure which type of editing your manuscript needs? Send me a message with a brief description of your project and where you are in the process. I'll give you an honest recommendation, and I'm happy to do a free sample edit so you can see the difference a professional edit makes.