Authors are often surprised to learn that "get it edited" is not a single service. A developmental editor, a copy editor and a proofreader do different jobs, at different stages, on different parts of a manuscript, and mixing them up leads to mismatched expectations and quotes that do not compare.
This guide sets out what each type of editor actually does, how the focus shifts across fiction, memoir and non-fiction, and what stays firmly the author’s decision throughout the process.
What does a developmental editor do?
A developmental editor looks at the manuscript’s large-scale effectiveness: whether the structure works, whether the plot or argument holds together, whether pacing drags or rushes, and whether the book delivers on what it promises the reader early on. This work usually happens before detailed sentence-level polishing, because structural changes can affect large sections of text.
See what is developmental editing? for a fuller breakdown of what this involves by book type.
What does a copy editor do?
A copy editor works at sentence and paragraph level, once the structure is largely settled: clarity, grammar, consistency of names and facts, repetition, punctuation, and often a style sheet recording decisions like spelling variants and formatting conventions used throughout the book.
See what is copy editing? for the detail, including a worked example.
What does a proofreader do?
A proofreader checks the final, typeset pages, close to publication, for errors that remain or that were introduced during formatting: typos, missing words, layout problems, incorrect running heads and page breaks that land badly. Proofreading assumes the content itself is finished.
What is an editorial assessment?
An editorial assessment is a shorter, more general read of the whole manuscript that identifies the main strengths and problems without line-by-line editing. It is useful when an author is unsure what stage their manuscript is at, or wants a second opinion before committing to a full developmental edit.
How do these editing services compare?
| Service | Focus | Typical stage | Example questions it answers |
|---|---|---|---|
| Editorial assessment | Overall impression, main issues | Unsure what stage you’re at | Is the structure basically sound? What should I prioritise? |
| Developmental editing | Structure, plot, argument, pacing, character | After self-revision, before line work | Does the middle sag? Does the argument build logically? |
| Copy editing | Sentences, clarity, consistency, grammar | Once structure is settled | Is this paragraph clear? Are names and facts consistent? |
| Proofreading | Final errors on typeset pages | Immediately before publication | Are there typos or layout errors left? |
Quill & Reed keeps this terminology consistent across the site; the same four terms mean the same thing wherever they appear.
What is line editing, if it is offered separately?
Where it exists as a distinct service, line editing sits between developmental and copy editing, focused on rhythm, voice and sentence craft rather than only correctness. Not every editor or package separates it out; check what any specific service actually includes rather than assuming from the name.
What does editing focus on in fiction?
For fiction, developmental work typically looks at plot logic, character motivation, point of view consistency, pacing and whether tension is sustained. Copy editing then addresses dialogue punctuation, tense consistency and continuity of physical and narrative detail.
What does editing focus on in memoir?
For memoir, developmental editing often examines scope (which part of a life the book actually covers), chronology, narrative focus and how reflection is balanced against scene. Copy editing addresses clarity, consistency of names and dates, and tone.
What does editing focus on in non-fiction?
For non-fiction, developmental editing typically examines the argument’s logic, whether chapters build in a sensible order, whether evidence supports claims, and whether material is unnecessarily repeated. Copy editing then checks terminology consistency, clarity and citation formatting where relevant.
What do editors not do?
An editor does not rewrite your book into their own version of it, guarantee it will sell, fact-check every claim on your behalf without agreement in advance, or make final decisions for you. Editors identify problems and suggest options; deciding what to do with that feedback remains the author’s job.
Myth
“A good editor will fix everything so the author does not have to make hard decisions.”
Reality
A good editor makes the hard decisions visible and explains the trade-offs. Choosing between them is still the author’s work.
What does the author/editor relationship actually look like?
In practice, most editing happens through tracked changes and margin comments in a shared document, plus, for developmental work, a longer editorial letter summarising the main issues and suggested approaches. Authors respond to comments, accept or reject changes, and raise questions, usually across one or more rounds.
What to expect from the process
- Tracked changes and comments you can accept, reject or discuss
- A written editorial letter for developmental work, summarising key issues
- A style sheet from a copy edit, recording spelling and formatting decisions
- The chance to ask questions about specific suggestions
- Final decisions remaining with you as the author
Common mistakes
- Assuming "an edit" means the same thing to every editor. Always confirm which service (assessment, developmental, copy, proofread) is being quoted for.
- Expecting a copy edit to fix structural problems. Copy editors work at sentence level; structural issues need developmental attention first.
- Accepting every suggested change without understanding why. Understanding the reasoning helps you make better decisions on future chapters and future books.
- Expecting the editor to guarantee commercial success. Editing improves the manuscript; sales depend on many other factors beyond the text itself.
Frequently asked questions
Do I need all four editing services?
No. Which ones you need depends on the manuscript’s current state; see [does my book need an editor?](/resources/editing-manuscripts/does-my-book-need-an-editor) for how to judge that.
Can one editor do everything?
Some editors offer more than one service, but doing developmental and copy editing in the same pass is unusual, since structural changes can undo detailed sentence work.
Will an editor change my voice?
A good editor works to strengthen your voice, not replace it with their own; flag this explicitly if it concerns you.
How much feedback should I expect in writing?
This varies by service and provider, but most developmental work includes a written letter, and copy editing typically includes an accompanying style sheet.