What Kind of Edit Do I Need?
Understanding the Three Most Common Types Edits
I have had more conversations than I can count with authors who ask me to “proofread” their book. Or they ask for an “edit,” a “line edit,” or a “copyedit,” or any number of editing terms. Determining what kind of edit you need can get downright confusing. Not only are there are multiple names for different kinds of edits, editors themselves can’t even seem to agree on what to call them.
An editor myself, I find that the very best approach when discussing a book project with an author—novice or experienced—is to put my eyes on the manuscript and my ears to the author’s concerns. This gives me the information I need to recommend the kind, or kinds, of edits a manuscript requires.
Having a simple understanding of the three most common types of book edits can help an author choose the best path at any given phase of their project. In this article, I will unpack the basics of the most common editing treatments.
I offer all three of these services, though not every book requires each style. That’s why it’s important to consult with your editor from the start. An astute editor will listen to your concerns, look at your manuscript, and make recommendations that consider the condition of your manuscript, your long-term goals for publication, and your budget.
Developmental Edit: The Big-Picture
A developmental edit, sometimes called a conceptual edit, examines the manuscript from the highest level. Think big picture here, like what you might see from a drone’s view. Rather than focusing on commas or sentence structure, this edit examines the foundation of the book itself. In fiction, this may include plot structure, pacing, character development, point of view, world-building, and narrative tension. In nonfiction, developmental editors often evaluate organization, clarity of ideas, audience alignment, chapter flow, and how well the topic is conveyed overall.
A developmental editor may recommend major revisions, including rearranging chapters, expanding sections, cutting unnecessary material, or clarifying themes. Their role is often collaborative with the author and strategic, helping to shape the strongest possible version of the book before line-level polishing begins.
For example, a novelist may discover through developmental editing that the middle of the story drags or that a supporting character unintentionally overshadows the protagonist. A nonfiction author might learn that their expertise is apparent, but their manuscript lacks compelling language or structure that keeps readers engaged from chapter to chapter.
Because developmental editing addresses large-scale issues, it should happen early in the editing process—often before the manuscript is considered finished. Writers who skip this stage sometimes spend time and money polishing chapters that are later omitted or rewritten entirely.
Developmental editing can feel intensive, especially for first-time authors, but it is often the stage that transforms a promising draft into a cohesive, compelling book.
Copyedit: Craftsmanship and Mechanics
Many editors approach a line edit and copyedit distinctly. I do not. Editing is expensive enough already. I do my best to give the author as much usable feedback as possible as I work through their manuscript in one pass. Before we go any further though, let’s define the distinction:
A line edit most often refers to refining the flow of language and conveying of ideas.
A copyedit is more mechanical in nature, primarily focused on grammar and punctuation.
Some editors use the terms copyedit and line edit interchangeably. I use the term copyedit, and when I perform a one for an author, I provide two main forms of feedback:
Comments in the margin regarding flow, character development, issues I detect, ideas I can offer, and praise for what’s working. This is the line edit sort of feedback.
Redline markup that catches any awkward phrasing, repetitive words, and mechanical errors like punctuation and misspelled words. This is the copyedit sort of feedback.
Personally speaking, my approach to copyediting is to correct and flag as many errors as possible and offer feedback in the margins and in summary at the end. My goal here is twofold:
return the manuscript to the author in the best shape possible, and
make the final proof that follows the author’s revisions as seamless and cost effective for the author as possible.
For nonfiction writers, copyediting can simplify complex information, making it easier to understand and more enjoyable to read. For fiction writers, a copyeditor can sharpen emotional impact and improve pacing within scenes. Copyediting is particularly valuable for authors who have strong ideas but struggle with readability or consistency in their writing style. It bridges the gap between storytelling and real craftsmanship as a writer.
When I perform a copyedit, I focus on correctness and consistency. I set out to:
Provide feedback in the margins regarding the storyline, character development, and readability
Correct grammar, punctuation, spelling, and syntax
Ensure consistency in capitalization, formatting, and terminology
Check continuity issues
Flag factual inconsistencies
For example, a copyeditor may notice that a character’s eye color changes halfway through a novel or that a nonfiction manuscript alternates between “health care” and “healthcare.” They may also catch timeline errors, incorrect punctuation in dialogue, or inconsistent chapter formatting.
Copyeditors are detail-oriented professionals who protect the credibility and professionalism of the manuscript. Even highly skilled writers benefit from copyediting because familiarity with one’s own work makes small errors difficult to spot.
In self-publishing especially, the work of a copyeditor plays a major role in how readers perceive the quality of a book. Readers may forgive a weak plot point or an occasional slow chapter, but repeated grammatical mistakes or formatting inconsistencies will quickly damage a reader’s trust and lead to negative reviews.
Final Proof: The Safety Net
When I am contacted by an author seeking a final proof or a proofreader, almost always, with one or two questions, I’m able to determine that either:
1. They are using the term “proofreader” interchangeably with “editor,” or
2. They feel they (or their Aunt Sally or their school teacher friend) have already edited their manuscript well enough, so that all that remains to be done is a final proof. When this happens, it is often because, understandably, the author is trying their best to save money by cutting corners during the editing process.
Please, make no mistake that proofreading is the final stage before publication. Proofreaders review the near-finished manuscript after professional editing and author revisions are complete. Their job is not to rewrite or restructure the book but to catch lingering errors before the book goes to print or is uploaded digitally.
Proofreaders typically look for:
Typos
Missing words
Formatting inconsistencies
Incorrect page numbers
Spacing issues
Minor punctuation mistakes
Errors introduced during formatting or the author’s revisions
This stage is especially important because new errors can accidentally appear during revisions or interior design. Even professionally edited manuscripts can contain overlooked mistakes, which is why proofreading serves as a final quality-control pass.
Proofreading requires patience and intense attention to detail. A proofreader approaches the manuscript with a fresh set of eyes to ensure the final version is clean, professional, and ready for readers.
Do Books Really Need Multiple Edits?
Each stage of editing requires a different mindset and skillset. Developmental editing demands strategic thinking and storytelling expertise. Copyediting requires sensitivity to language and voice and calls for technical precision. Proofreading rides on meticulous attention to detail.
For these reasons, professionally published books often pass through several edits before reaching readers. Self-published authors increasingly follow the same model to produce books that can compete in a crowded marketplace.
Not every manuscript requires every level of editing, but most books benefit from at least some combination of developmental feedback, stylistic refinement, technical correction, and final proofreading. The key is understanding where the manuscript currently stands.
Selecting the best editor for you is vital to the outcome of your final draft. Invest time in the hiring process to find someone you can connect with, that you feel confident will improve the overall quality of your work, and is realistic about a cost that is fair to you both. This is precisely why I communicate with the author and look through each manuscript before I provide a custom proposal.
Understanding the three most common types of edits will help you as you interview potential editors. In addition, enter the conversations with confidence that editing is never about removing an author’s voice or taking ownership of the story. At its best, editing strengthens the writer’s intent, clarifies their message, and creates a smoother, more engaging experience for readers.
Here are some additional resources to guide you in your decision-making for choosing the right editor and the right kind of edit:
1. Why Are Editors So Expensive? (And How Can I Reduce My Cost?)
2. Get the Most from Your Editor
3. Three Reasons You [Really Do] Need a Final Proof
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If we haven’t met yet, I am Andria Flores: author, editor, and recovering perfectionist. For more articles like this one, connection to a supportive author network, and trusted publishing resources, subscribe to my newsletter today. When you do, I’ll send you my free Publishing Guide as a gift (and I won’t blow up your inbox every week.) My 40+ page eBook is a step-by-step guide through the publishing process, including proven tips, tricks, and links you can use along the way. Get yours here!
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