What type of editing do you actually need?
Don’t paint before you lay the foundation. A guide to editorial services.
A few months after I had launched my editorial business back in 2020, a romance writer reached out to me in frustration. She’d paid $2,600 for what her editor called “comprehensive editing” on her 75k-word manuscript. Eight weeks later, she got her book back with corrected grammar and a few consistency fixes — basic copyediting work that today typically runs around $1,875 according to Editorial Freelancers Association 2024 rates.
Not only that, her beta readers were still saying the same things they’d said before. “I got lost halfway through.” “The ending felt rushed.” “I didn’t understand why the main character made that choice.”
She’d been charged developmental editing prices ($2,475 is typical according to the EFA) for surface-level work while her story’s foundation remained shaky. The structural problems that were actually preventing publication? Still there.
“I don’t get it,” she told me. “The editor said they fixed everything. But agents are still saying no, it needs more work.”
This happens because the publishing industry operates on insider knowledge many writers — especially Black writers — aren’t given access to. We’re expected to navigate a system built on assumptions about what we already know, then are blamed and ridiculed when we make expensive mistakes.
I’m a professional editor. Meaning, I trained to do what I do (and love). I didn’t simply decide to work with people’s manuscripts because I received top marks in English class. Based on my training and continued development as a professional, here’s what I can tell you: there are four distinct types of editing, each designed to solve different problems at different stages of your manuscript’s development.
Think of the editorial process like building and furnishing a house. You wouldn’t put in hardwood floors before the foundation is laid, and you wouldn’t hang artwork before the walls are painted. The same logic applies to editing your manuscript.
There are two levels of work happening: the macro and the micro.
The macro level is where developmental editing happens. This is the foundation, walls and roof of your house. It’s big-picture work that examines how your book functions as a whole — whether that’s story structure and character arcs in fiction, or argument flow and message clarity in nonfiction.
The micro level is where line editing, copyediting and proofreading happen. After your house’s structure is solid, it’s time to paint the walls, choose the interior design and arrange the furniture. This is sentence-level work that polishes your prose and eliminates what I call “speed bump errors” — the little mistakes that make for a poor reading experience.
Writing a book is a nerve-wracking experience all on its own. Getting it edited and ready for publication is another experience entirely.
Understanding this sequence can save you money, time and some of that headache.
Developmental Editing: The Foundation Work
Before we dive into what developmental editing actually is, let’s talk about what should happen first: self-editing.
I don’t believe writers should hand over a raw first draft to any editor. That’s like asking an architect to design your house before you’ve even established the vision for it. Some level of self-revision such as stepping back from your work, identifying obvious problems and making initial improvements should happen before you invest in professional editing.
You may be thinking, what’s the point? In my opinion, doing the first few rounds of revision contributes to your development as a writer. It’s also about being a good steward of your money and your editor’s time. When you’ve done your best self-editing work, your manuscript is in better shape for the developmental process, which means you get more value from what you’re paying for.
What developmental editing actually addresses:
Content structure and organization: Does your plot/argument have a clear beginning, middle and end? Do scenes/chapters flow logically from one to the next?
Character development and argument development: Do your characters grow and change? Are your key points strengthened throughout? Is your central thesis clear and well-supported?
Plot holes, pacing issues and logical gaps: Are there gaps in story logic or argument flow? Does the content drag in places or rush through important moments?
Point of view problems and voice consistency: Is it clear who’s telling the story or presenting the information? Does your narrative voice or expertise level stay consistent?
Message clarity and audience connection: Does your content serve its intended purpose? Will your target readers understand and connect with your approach?
Overall narrative flow: Does everything work together to serve your book’s central purpose?
In non-editor language: This is when your book has the right foundation but the pieces aren’t arranged properly. You know there’s a compelling story or valuable information in there, but something fundamental isn’t connecting with readers yet.
What developmental editing costs: According to the EFA, expect to pay around $0.033 per word, which comes to roughly $2,475 for a 75k-word fiction book. For nonfiction, expect to pay around $0.045 per word, which is roughly $3,375 for 75k words. Timeline is typically 6-8 weeks for the editor’s feedback, then 2-6 months for your revisions.
Red flags when hiring a developmental editor:
They promise to “fix your voice” instead of strengthen it
They don’t ask about your vision for the book or your target audience before starting
They claim they can do comprehensive developmental work in under two weeks
They don’t understand your genre or field (spiritual books need different treatment than business books)
They focus on grammar and sentence-level issues instead of big-picture structure
They don’t use track changes or explain their suggestions/restructuring
They try to make your book sound like everyone else’s instead of preserving your unique perspective
A more affordable alternative: Manuscript Assessment
If full developmental editing isn’t in your budget right now, consider a manuscript assessment. This is essentially a mini developmental edit where the editor analyzes your manuscript’s strengths and weaknesses but doesn’t make changes to the document itself.
Instead, you receive a detailed report discussing their findings: what’s working, what isn’t and specific suggestions for improvement. You then implement the changes yourself.
Manuscript assessments and developmental editing both involve big-picture analysis, but they’re qualitatively different. An assessment is usually a one-time event without ongoing dialogue, making it a cost-effective option for writers who want professional insight but prefer to handle structural revisions themselves.
This approach can save you money while still giving you the roadmap you need to strengthen your book’s foundation.
Manuscript assessments (my elemental audits) are one of the services I offer through The Story Temple. If you’re interested in learning more about how this might work for your project, feel free to message me.
Line Editing: The Flow Work
Once your house’s structure is solid, it’s time to focus on how everything flows together. Line editing is where we move from the macro level to the micro level — from big-picture structure to sentence-by-sentence craft.
What line editing actually addresses:
Sentence-level clarity and rhythm: Do your sentences flow smoothly when read aloud? Do they vary in length and structure to create an engaging rhythm?
Word choice and style consistency: Are you using the most precise words? Does your vocabulary match your audience and genre? Is your tone consistent throughout?
Paragraph flow and transitions: Do your paragraphs connect logically? Can readers follow your train of thought easily?
Tightening verbose passages: Are you saying what you need to say as clearly and concisely as possible?
Enhancing voice and tone: Whether you’re writing a thriller or a business guide, does your unique voice come through consistently?
In non-editor language: This is when your book has good bones and solid structure, but the individual sentences don’t sing yet. Your ideas are clear, but the way you express them could be more engaging, more precise or more you.
What line editing costs: According to the EFA, expect to pay around $0.030 per word, which comes to roughly $2,250 for a 75k-word fiction book. For nonfiction, expect to pay around $0.040 per word, which is roughly $3,000 for 75k words. Timeline is typically 4-6 weeks for editing, then 2-4 weeks for your revisions.
Red flags when hiring a line editor:
They want to change your dialect or cultural expressions to sound “more professional”
They focus only on making sentences follow “proper” English rules without considering your voice or audience
They don’t understand your genre conventions (business writing sounds different from memoir)
They make changes without explaining why or give you examples
They don’t use track changes
They promise this will fix structural problems (it won’t)
They don’t provide sample edits so you can see how they work (a good bit of editing is subjective, and every editor has their own style)
The difference this makes: Good line editing can transform readable writing into writing that sings. It’s the difference between getting your message across and having readers hang on to every word. Whether you’re crafting a romance novel or a spiritual guidebook, line editing helps your authentic voice reach readers more powerfully.
Copyediting: The Polish Work
Now we’re getting into the detail work, like making sure all the trim is properly installed and the paint job is smooth. Copyediting is technical and meticulous, focusing on correctness and consistency. A balm to my Virgo moon soul.
What copyediting actually addresses:
Grammar, spelling, syntax and punctuation: All the technical rules that make your writing clear and professional
Consistency in details: Character names, dates, facts and terminology throughout your book
Style guide adherence: Whether you use “doughnut” or “donut,” it should be the same throughout
Fact-checking and research verification: Ensuring accuracy in historical details, statistics or technical information
Internal logic consistency: Does your protag have brown eyes in chapter 2 and blue eyes in chapter 15? Does your business strategy align with current market realities?
In non-editor language: This is when your book flows beautifully and serves its purpose, but you need to ensure every detail is correct and consistent. It’s quality control that prevents readers from getting distracted by errors aka those speed bumps I mentioned earlier.
What copyediting costs: According to the EFA, expect to pay around $0.025 per word, which comes to roughly $1,875 for a 75k-word fiction book. For nonfiction, expect to pay around $0.035 per word, which is roughly $2,625 for 75k words. Timeline is typically 3-4 weeks for editing, then 1-2 weeks for your review.
Red flags when hiring a copyeditor:
They claim this level of editing will fix story or argument problems (it won’t)
They don’t use track changes or explain their corrections
They charge developmental editing rates for copy work
They make changes to your voice or cultural expressions without discussion
They don’t ask about your style preferences upfront
They don’t tell you what style guide, such as Chicago or APA, they will be referencing
Proofreading: The Final Safety Net
This is the final walkthrough before you hand over the keys. Proofreading happens when your book is essentially complete and formatted. It’s your last line of defense against embarrassing errors.
What proofreading actually addresses:
Last-minute typos and formatting issues: The little things that slip through previous rounds
Layout and design consistency: Making sure headers, spacing and formatting look professional
Final verification of changes: Ensuring all previous editorial suggestions were implemented correctly (sometimes formatting can introduce new errors)
Pre-publication quality check: One final review before your book goes live
In non-editor language: This is when your book is 99% ready and you just need someone with fresh eyes to catch anything you’ve missed after months of revisions. It should happen last.
What proofreading costs: According to the EFA, expect to pay around $0.016 per word, which comes to roughly $1,200 for a 75k-word book. For nonfiction, expect to pay around $0.025 per word, which is roughly $1,875 for 75k words. Timeline is typically 3-4 weeks.
Red flags when hiring a proofreader:
They present this as the only editing you need or don’t explain why your book isn’t ready for proofreading yet
They promise to fix story issues at this stage
They want to make major changes to content or structure
They charge bottom-of-the-barrel rates
Claim they can proofread 100k words in two days or less (proofreading still requires meticulousness)
Why Sequence Matters (And Saves Time + Money)
Throughout this piece, I’ve been my house metaphor (I studied interior design back in the day). And I’m hoping you’ve been able to connect and integrate the analogy. You wouldn’t install hardwood floors before the plumbing is done, because you might have to rip them up later. The same logic applies to editing.
If you do copyediting first, then discover structural problems that require rewriting chapters, you’ve just paid to polish work you may end up not even using in the final version. Every rewrite, move or major revision can damage the detailed work that copyediting (and even line editing) provides.
The most cost- and time-effective sequence:
Self-editing (free, but requires time and distance from your work)
Developmental editing or manuscript assessment (structure and big-picture issues)
Line editing (flow and voice enhancement)
Copyediting (technical correctness and consistency)
Proofreading (final error check)
Your money-saving strategy: You should not be doing everything at once. Work on structure first, let that settle, then move to the next level when your budget allows. My best advice is not to skip ahead or work backward through the process. If you have questions about what your manuscript needs, ask. A good editor will be able to tell you whether your manuscript is indeed ready for the type of editing they offer.
A previous client of mine initially hired me for line editing. But as I worked through the manuscript, I found structural problems and immediately stopped, then had a discussion with her. Since I provide manuscript assessments, we changed the scope of the work. But if I didn’t, I would have recommended a DE for her work with, with an invitation to work together later once the structural work was complete.
A Note About Rates and Sample Edits
The rates I’ve quoted throughout this piece are 2024 median rates from the Editorial Freelancers Association. I’ve chosen to use the median rather than the range to give you realistic expectations. Visit their website for more information.
However, editors are self-employed professionals who can charge whatever they want. Some charge above these rates, some below. Price alone doesn’t determine quality. An expensive editor isn’t automatically better, and an affordable editor isn’t automatically worse.
Full transparency: I’m on the higher end of these ranges because I’ve been doing this work for years. I also don’t charge per word or per hour anymore like I did when I first started my business. I now charge per project because every writer is different. One writer’s 50k words might be in excellent shape and need only a light touch. Another writer’s 50k words might require heavy revision support. I believe I should be paid for the actual work required, not just word count.
A word about sample edits: Most professional editors offer sample edits so you can see their approach before hiring them. This is standard and helpful, and something I provide. However, I’ve seen — and been a victim of, for lack of a better word — writers request sample edits from multiple editors on different sections of their book, then attempt to piece together free editing work without hiring anyone. This is dishonest and counterproductive. Different editors have different styles, and “franken-editing” your book this way creates inconsistency problems you’ll have to pay someone to fix later.
The Bottom Line
Understanding these distinctions protects you from paying developmental editing prices for proofreading work, or expecting copyediting to fix structural problems. More importantly, it ensures your book gets the specific help it needs at each stage of development.
Whether you’re writing your first novel, a business guide or a spiritual memoir, knowing what type of editing you need — and what questions to ask before hiring anyone — puts you in control of both your budget and your book’s success.
If you’re still not sure what type of editing your book needs, or whether I’m the right editor for you (I’m definitely not for everybody), I’m happy to discuss it. No sales pressure, no schemes. Just an honest conversation about where your manuscript is and what it needs next.
Feel free to send a private message or an email to info@thestorytemple.com. Let’s figure out the best path forward for your book.
This is so good, and contains so much free game.
Very informative. Thank you.