Different Types of Editing & Editors: A Guide for Writers
For many people, editing is all red pens and moving commas, but there are many different types of editors out there. Read on to find out what each type of editing can do for your book.
In an industry obsessed with words, it’s wild how often we use multiple words to refer to the same darn thing. The world of editing is no exception. In this blog post, I’ll define the most common types of editing and address some of the common misconceptions about the different types of editors out there.
First, I’ll define the four types of editing: developmental editing, line editing, copy editing, and proofreading. Then, I’ll discuss the difference between acquisitions editors, freelance editors, and literary agents.
Let’s go!
Types of Editing
Developmental Editing
Also known as: substantive editing, content editing, structural editing, story editing, manuscript critiques*, manuscript assessments*, manuscript evaluations*
Commonly confused with: ghostwriting, book doctoring
What is developmental editing?
A rose by any other name is still…eh, you get the picture. Developmental editing is one of the most misunderstood types of editing, partially because developmental editors focus on large-scale revisions and because developmental editing goes by so many different names. Unlike other editors, we don’t worry about commas or dangling modifiers. We don’t wield red pens or perform in-line edits.
Developmental editors analyze your manuscript at the story-level. They focus on plot, structure, character development, worldbuilding, character arcs, and so much more. Most often, developmental editors work by writing comments on your manuscript and writing an editorial letter that summarizes their analysis of your manuscript and their recommendations for the revision process. However, each developmental editor is different. Some editors only provide an editorial letter, some only offer comments, and so on.
To further complicate matters, some editors will go in and rearrange content, but not all editors are that hands on. Sample edits are key here. Though sample edits are imperfect for developmental editing (consider the comments in a sample edit to be in “draft mode” until the editor has read your full manuscript), but it can show you exactly what to expect from the edit. Make sure you know exactly how much feedback you’re getting and in what forms. Especially if you’re comparing editors at different price points. Interested in working with me? Check out my editing services here or request a sample edit here.
When should you work with a developmental editor?
I recommend working with a developmental editor after you’ve done at least one round of self-editing, but before you work with a line editor, copyeditor, or proofreader. Why? Developmental editors often recommend significant changes that may require you to rewrite or cut significant portions of the manuscript.
Light line-editing can help ensure that your character development and worldbuilding are clear on the page, but spending too much time wordsmithing can make it harder to let go of elements that just aren’t serving your story. And if you’re unwilling to rethink big parts of your manuscript, you’re not going to experience the true value of a developmental edit.
How does developmental editing differ from book coaching & ghostwriting?
Ghostwriters are hired to write the actual story for you. While the “development” in developmental editing is sometimes interpreted as a writing or rewriting, developmental editors don’t create new content when working on a manuscript. In contrast, ghostwriters bring your story to life on the page. They can either work from an outline you provide, or you can hire them to create the plot as well. Ghostwriters are a great option if you have a fantastic premise, but don’t feel confident in your ability to bring it alive on the page (or simply don’t have the time to do so).
Book doctors work somewhere in between ghostwriting and developmental editing. You write a draft of your story, but the book doctor revises it for you. This is a great option if you’re passionate about your story, but don’t have the technical skill or will to revise it yourself. Book doctoring is less common than developmental editing, but it’s a great option to explore if you’re interested in getting more hands-on help to revise your manuscript.
*Note: Manuscript evaluations, critiques, and assessments aren’t exactly the same as developmental edits, but I’ve categorized them together because they provide the same type of feedback. Editors typically offer these services as a lower cost, more efficient version of their developmental editing services. You’ll typically get feedback on fewer elements of your manuscript at a lower price point—a great option if you’re working with a tighter budget!
Line Editing
Also known as: stylistic editing
Commonly confused with: copy editing
What is line editing?
Line editing focuses on the world choice and flow of your writing at the sentence and paragraph level. Unlike developmental editors, line editors will get deep into your manuscript and make changes right there on the page. Don’t worry about having your ideas erased—line editors use track changes so that you have the option to accept or reject their changes. Line editors can also use comments to make suggestions that you can implement in revision or to explain the intent behind changes they’ve made to your manuscript.
Writers sometimes worry about having their individual writing style erased by line editing, but a good line editor should honor your voice. Their job is to ensure clarity for readers so that they can have the best experience possible, not to make your writing sound like a carbon copy of someone else’s. I highly recommend getting a sample edit before choosing a line editor to make sure that their vision matches yours.
When should you work with a line editor?
I recommend working with a line editor after you finish all of your story-level edits. Make sure your plot is solid, your characters are who you want them to be, and you’re done making big cuts or rewrites. Line editing should follow developmental editing and precede copy editing and proofreading.
Copy Editing
Also known as: copyediting (both spellings are correct)
Commonly confused with: line editing, proofreading
What is copy editing?
When someone thinks about “editing” in general, they’re usually thinking about copy editing in particular. Copy editing addresses the nitty-gritty mechanics of your writing. This is the stage at which an editor pulls out a red pen (or more likely, track changes in Word) and addresses the technical errors: missing commas, misused and misspelled words, dangling modifiers, and all those other grammar rules we all forgot as soon as we stopped studying for the SATs.
Copy editing ensures that your manuscript is clear, coherent and professional. However, a good copy editor recognizes that language is a living thing. Instead of sticking to a rigid, inflexible set of rules, good copy editors take into account the author’s background, intentions, and evaluates their language use accordingly. Again, sample edits are key. Make sure you find a copy editor who respects your style, even when it deviates from “standard” writing.
What’s the difference between line editing and copy editing?
Line editing focuses on stylistic choices: awkward repetitions, words that don’t fit a character’s voice, sentence structures that are unclear, and the like.
In contrast, copy editors focus on the mechanics of your writing. They ensure that your writing adheres to the standard rules of written English (or any other language you happen to be writing).
In theory, these editing stages happen separately. In practice, however, many editors offer packages that offer line and copy editing at the same time. It’s a matter of personal preference and one of the reasons why sample edits are so important—editing packages aren’t standardized and the sample edit gives you a chance to see exactly what kind of editing you’ll get.
Proofreading
Also known as: n/a
Commonly confused with: copy editing
What is proofreading?
Proofreading is the final check for errors in the manuscript. Proofreaders check for any lingering errors in spelling, grammar, formatting, etc. Proofreaders examine the manuscript line-by-line to make sure that your final product is clear and error free.
When should you work with a proofreader?
Proofreading should be the final step in your pre-publication process. Proofreading should happen after all the other stages of editing have already happened. Ideally, your book will be formatted before the proofreading stage. Why? So that the proofreader can catch errors in formatting as well as errors in the text of your book.
What’s the difference between copy editing and proofreading?
While both copy editing and proofreading address technical errors, copy editing happens at the manuscript stage. Proofreading is truly meant to be a final step, one last layer of protection before your book is published and sent out into the world. Proofreading also addresses formatting, while copy editing does not. For a more detailed examination of the difference between copy editing and proofreading, check out this post from the Grammarly blog.
Confused by the difference between an acquisitions editor, a freelancer, and a literary agent? Read on for the distinctions between these three jobs!
Types of Editors
Now that you know the four types of editing, I want to make sure you understand the different types of editors (and editor adjacent professions) that you may encounter during your publishing journey. First, a quick clarification: freelance vs. in-house. Freelance editors work for themselves, they set their own hours and rates and decide which projects to work on. In contrast, in-house editors work for a specific publishing company. They work on the projects that the publisher assigns.
What is an acquisitions editor?
An acquisitions editor works for a publishing company, but they do more than just edit manuscripts. Acquisitions editors get to decide which books get published in the first place (in other words, they’re the infamous gate keepers of the traditional publishing process).
Once they’ve chosen to buy a particular book, an acquisitions editor can perform many of the same functions as a freelance editor—they often provide developmental feedback to authors and may even perform some line editing on a manuscript they acquire, but they do so as a function of their job with the publisher. Copy editing and proofreading are typically handled by other editors, either in-house or freelancers hired by the publishing company.
The pay structures for freelance editors and acquisitions also differ. When an acquisitions editor decides to publish your book, they pay you for the right to publish that book. When you hire a freelance editor to work on your book, you pay them a set rate for their services.
What is a literary agent?
When I look at freelance job boards, I sometimes see postings like this: I’m looking for someone to take my book and send it out to publishers who will buy it.
The problem? That person isn’t looking for a freelance editor, they’re looking for a literary agent, and agents aren’t searching job boards looking for writers to represent.
If you’re pursuing traditional publishing (i.e. trying to sell your book to a publishing company), then you can either find publishers that accept direct submissions or submit to literary agents in a process called querying. Once you find a literary agent to represent you, that agent will send the book to publishers and (hopefully) find an editor willing to buy the rights to it (see acquisition editors above).
Literary agents often provide developmental and line-level feedback—sometimes in multiple rounds—but they don’t take money from writers upfront for those services. This is important. Reputable agents do not charge authors for representation. If someone presenting themselves as a literary agent asks you for money, run the other way!
Instead, literary agents receive a percentage of the money that the publisher pays for your book (usually 15%). In other words, literary agents only get paid when you get paid. When you hire a freelance editor to give you feedback, they are paid for their services whether you end up selling your manuscript or not.
Interested in self-publishing? You don’t need to worry about literary agents or acquisitions editors at all! The querying process only applies to those who want traditional publishing contracts. If you are interested in traditional publishing, Jane Friedman has a great article that explains the whole process. Not sure which pathway is right for you? Check out this article from Writer’s Digest outlining the pros and cons of each option.
What is a book/writing coach?
Book coaches and writing coaches often offer editing services as part of their coaching packages, but the terms aren’t synonymous.
In order to hire an editor, you need to have a finished manuscript for the editor to work on.
In contrast, you can hire a book/writing coach at any stage of the writing process. Different coaches have different specialties: some focus on shepherding writers through the brainstorming and outlining process, some help you complete your draft, others (like me) help you work through the revision process, and some focus solely on helping your query and/or market your book.
Some editors also offer coaching services and some offer the option to add on coaching sessions after they finish editing your manuscript. If you’re looking for individualized support during the writing process, a book coach can be a great option. Interested? You can learn more about my coaching services here.
Overwhelmed by the different editing options out there? It’s okay! Editors are here to help you create the best book possible. If you’re feeling confused, reach out, I’m here to help! Even if I’m not your ideal editor, I might be able to point you in the right direction. You can contact me here.
I also have a free tool that you can use to simplify your editor search by gathering all of the relevant details in one, easy to read spot. Click here to download it today!
