“The end.”

Two words never sounded so good together.

However, the truth is that your book is far from done. While completing the first draft is a huge achievement, there’s still plenty of editing work to be done to get it in the best position possible for print.

You probably already know your book needs a good edit (nobody is perfect, not even you!), but what type of editing are you after? Developmental editing, copy editing, line editing, proofreading…

There are so many different types of editing out there, it’s enough to send your head into a spin.

In this guide, we’ll take you through the main types of editing you have to choose from, what exactly they entail, and when it might be worthwhile to go through a few different editors to get your book where you need it.

4 different types of editing for your book

1. Developmental editing

Developmental editing is about looking at the big picture of your book. The ideas might all be there, but if there’s hiccups in your execution, vital flaws can appear in your plot, characters, subplots and more. You want to ensure these are ironed out before your book goes to print.

This is where the developmental editor steps in. They can help refine your ideas and shape your narrative to ensure there are no major inconsistencies that need to be addressed.

A journalist and author of Girl Walks into a Bar, Strawberry Saroyan says, “A developmental editor is someone who can take a helicopter view of your entire piece of writing and give you a specific sense of what’s working, what’s not, and in some cases come up with solutions.”

The great thing is, a developmental editor can be brought in before your book is even finished. If you find yourself stuck along the way, lacking direction and not sure where to next, a developmental editor is able to help you out and provide that vital direction.

The most important thing to keep in mind when you go down the path of a developmental editor is that they will challenge you. That’s their job!

They won’t change your story, and if rewrites are needed, then that part is left up to you (usually). But they will ask you to justify ideas and themes in your book, so be prepared to defend yourself.

The goal is to make sure every idea, plot, theme, characterization etc., has been written with intention. You meant it to come across in that manner and are aware of how it adds to your story.

While it can come across as a personal attack – after all, who wants to defend their book they’re so proud of! – but it all comes down to justifying your choices and ensuring they’re the correct ones for your story.

2. Line editing

The line editor is the person who goes through your book line by line, just as the name suggestions. Thus, line editing is one of the most intensive editing services available, focused on prose-level craft at the sentence and paragraph level.

Naturally, you can’t skip through developmental editing to get to this step. You need to have gone through the big-picture editing before a line editor is brought in to go over your manuscript.

They’re not looking at the big picture.

If your book is a garden, then your line editor is the person who is down in the weeds – getting dirty and pulling each one out by hand. One by one.

Your goal as a writer is to bring your audience into a whole new world and convince them it’s real. Your line editor helps make this happen through the choice of words and sentence structure.

While they will look at how your book flows, a line editor is more interested in making sure each word in each and every sentence is used correctly and adding to your story in the right way.

Here are some of the things a line editor is on the lookout for:

  • Run on sentences.
  • Sentence fragments.
  • Cliches.
  • Jargon.
  • Sentence structure.
  • Syntax.

While a copy editor (the next step) will go through and add in commas and full stops where they’re needed, it’s the line editor who will stop and question the use of words within a sentence.

If you’re looking to understand exactly how a line editor works, here are some of the common questions they’re asking themselves as they go through your text:

  • What is the tone of this paragraph? Is it successfully portrayed through the choice of words?
  • Are there any unnecessary words or digressions in there that need to be taken out?
  • Do the sentences flow from one to the next. Is it easy to read without the need to stop and start?
  • Is the language well chosen and free of jargon and cliches that don’t suit the style?
  • Is there a consistent point of view that flows throughout the novel?

The line editor is the one that will pick up the mechanical errors in your writing, before you hand it on to the copy editor to go through and check for grammar and spelling. The line editor can take your book from good to great as they tweak your writing throughout.

3. Copy editing

Once you’ve sorted out those big-picture issues in your book and made all the corrections and rewrites needed, it’s time to get stuck into copy editing.

Now is the time to ensure the text is correct when it comes to spelling, grammar, jargon, punctuation, terminology, semantics and formatting.

Trained copy editors bring expertise to your book. They go above and beyond simply pointing out grammar errors and can pick up on missing information and unclear concepts throughout.

By the time you hand your book over to a copy editor, you should have gone through it with a fine-tooth comb yourself to make sure it’s in the best condition possible, as this will help you get the most value out of hiring a copy editor for the next stage.

We’re only human. Mistakes get missed. While the developmental editor looks at the overall story and themes, the copy editor will look at the finer details of your text.

Think about it, your reader is making their way through your story, only to be met with spelling mistakes the entire way through. It can be hard to focus on the story and to really get into it when errors keep cropping up along the way. It can be extremely distracting.

It’s a copy editor’s job to ensure this doesn’t happen.

Many copy editors also carry out fact-checking. It’s important to discuss this with them before they take on your story, so you ensure you’re both on the same page right from the start. If yours is a very factual book, then you’re going to need a copy editor who can go through all the finer details and make sure no mistakes have been made.

If your story doesn’t consist of many facts, you can ask your copy editor to skim over them and just make sure everything is in place. Most copy editors prioritize fixing the facts that affect the manuscript the most.

A quality copy editor can have a huge impact on your manuscript and improve the overall quality of your work.

4. Proofreading

If you’re in a rush to get your manuscript to print, this stage is often combined with the copy editing stage.

Book proofreading is the final major stage of the editing process.

Think of them as the gatekeepers to printing your book.

No manuscript will get past them without a thorough inspection for spelling and grammar errors.

Proofreaders are meticulous, looking out for:

  • Spelling and style inconsistencies.
  • Layout and typography inconsistencies.
  • Word and page breaks.
  • Captions on photos and illustrations and page numbers.

By the time your manuscript makes it to this stage, any major issues should be resolved.

This stage is about scrutinizing the finer details so nothing is missed. Proofreaders understand book formatting, so can make sure your entire manuscript is in the correct format, with the right margins, etc. This is valuable input and insight that can make a huge difference when it comes to printing your work.

While proofreading is less extensive than a copy edit, it’s just as valuable. Consider it one more professional set of eyes over your work, giving you the green light to go to print.

What type of editing does your book need?

Now you know all the types of editing on offer, you might be wondering whether you have to go through every stage. The honest answer depends on where your manuscript is right now.

  • Your plot has holes or your structure isn’t working: Start with a developmental editor before anything else. Line and copy editing a structurally broken book is wasted effort.
  • Your story is solid but your prose feels flat or clunky: You can skip straight to line editing. If you’ve already done a structural pass yourself and are confident in it, a developmental editor may not be necessary.
  • You’re self-publishing and working to a tight budget: Prioritise copy editing and proofreading. These are the stages most visible to readers. Developmental editing is the one most commonly cut — but be honest about whether your structure can carry the book without it.
  • You’re submitting to a traditional publisher or agent: At minimum, get a copy edit and proofread done. A developmental edit can strengthen your submission, but agents expect to work on structure with you after acquisition.
  • Your manuscript is nearly print-ready: Copy editing and proofreading can be combined into a single pass. Many editors offer this as a package.

Some stages you may be able to handle yourself — you might hire a developmental editor for the big picture and take on the copy editing tasks personally, for instance. There’s no single right answer, but there is a wrong one: going straight to print without at least one professional set of eyes on the manuscript.

The most important thing is to communicate clearly with your chosen editor from the start — share your style guide, your target audience, and any passages you consider untouchable. The more they understand your vision, the better they can serve it.

Once you’ve cleared every stage you need, it really is “The end.” (Until it’s time to market your book — but let’s leave that one for now.)