Writing Editor

You’ve finished your manuscript. Now you need an editor—but which kind? The editing industry has four different types, and choosing wrong wastes thousands of dollars or leaves critical problems unfixed. Most writers hire a proofreader when they need a developmental editor, or pay for developmental editing when their manuscript just needs line polishing. The difference isn’t just semantic—it’s $3,000 and three months of your life.

This article walks you through the four types of editing, when you need each one, what professional editing actually costs, and how to find the right editor for your work—so you invest your money at the right stage with the right professional.

Key Takeaways:

• Four types of editing serve different needs: Developmental editors fix structure and pacing, line editors polish sentence-level style, copy editors correct grammar and consistency, and proofreaders catch final typos.
• Professional editing is an investment: Expect to pay $2,000-$5,000 for a typical 80,000-word book, with costs varying by editing type and editor experience.
• Self-edit first to maximize value: Exhausting self-editing and beta reader feedback before hiring a professional saves money and helps you learn your writing weaknesses.
• AI tools complement but don’t replace human editors: Grammarly and ProWritingAid handle surface-level polish, but human editors are still necessary for structural feedback and narrative development.

What Is a Writing Editor?

A writing editor reviews, revises, and improves written content for publication. They handle grammar and punctuation, yes—but that’s table stakes. Strong editors do something more valuable: they read your work and see what’s missing. The gap between what you meant to say and what actually landed on the page. Your brain fills in those gaps after working on something too long. A good editor catches what you can’t see anymore.

The relationship between writer and editor isn’t about judgment. It’s collaboration. A good editor polishes your unique voice—they don’t take it over. According to Between the Lines Editorial, “An editor’s job is to work with the writer to polish that writer’s unique voice and ideas.” That’s the standard. If an editor is rewriting you instead of refining you, something’s wrong.

Many writers feel vulnerable handing work to an editor for the first time. That’s normal. But understanding what editors do—and which type of editor you actually need—makes the process less intimidating and more productive.

The 4 Types of Writing Editors

The four main types of editing are developmental editing (big-picture structure and content), line editing (sentence-level style and flow), copy editing (grammar, consistency, and style guide adherence), and proofreading (final typo and formatting check). Each type addresses different manuscript needs, and most books go through at least two of these stages.

Here’s the thing: most writers misjudge which type of editing they need—and that wastes money or misses critical improvements.

Developmental Editing

Developmental editors are like architects. They focus on structure, flow, and content organization. Plot holes? They’ll find them. Pacing issues in Act 2? They’ll tell you where it drags. Character development that feels flat? You’ll get margin comments with questions and suggestions.

This is the most intensive type of editing. You’ll get your manuscript back with comments throughout—queries like “Why does this character make this choice?” or “This section feels rushed—can you expand here?” It’s not about grammar. It’s about whether your story or argument actually works.

Line Editing

Line editors work at the sentence and paragraph level. They’re focused on your writing style, clarity, and flow. They’re not changing your meaning—they’re making your sentences sharper, smoother, more engaging. If developmental editing asks “Does this work?” line editing asks “Does this read well?”

Copy Editing

Copy editors are the grammar and consistency experts. They check for correct grammar, punctuation, and syntax. They ensure you’re following a style guide (Chicago, AP, whatever your publisher requires). They catch when you called a character “Sarah” in chapter 2 and “Sara” in chapter 8. They make sure your terminology stays consistent throughout.

Proofreading

Proofreading is the final pass. According to Reedsy, proofreaders catch “remaining errors after all other editing is complete.” We’re talking typos, formatting glitches, the granular tiny things that slip through. Proofreading happens after developmental, line, and copy editing are done. It’s the last check before publication.

Which One Do You Need?

If your beta readers said the pacing felt off in Act 2, you might need a developmental editor. If they loved the story but stumbled over clunky sentences, you need a line editor. If your structure is solid but you’re not confident about grammar, copy editing is the answer. If you’ve been through other editing stages and just need a final typo sweep, proofreading suffices.

Most manuscripts need more than one type. The order matters: developmental → line → copy → proofread. Not every book needs all four, but don’t skip ahead. Proofreading a manuscript that needs developmental work is like polishing a car with no engine.

Self-Editing Comes First

You should hire a professional editor when you’ve exhausted self-editing and beta reader feedback, and you can no longer objectively see your manuscript’s weaknesses. Jane Friedman, a respected publishing industry authority, puts it clearly: “The point where you need a professional editor is when you have exhausted all subjective review resources.” Professionals in the industry unanimously recommend that authors have 2-3 other people read their manuscript and complete their own revision passes before investing in professional editing.

Self-editing isn’t optional—it’s how you become a better writer.

Here’s why you should self-edit first. One, it saves money. Every obvious error you catch yourself is one less thing a professional has to fix—and they charge by the hour or by the word. Two, it helps you learn. Revising your own work teaches you where your writing weaknesses are. Three, it makes professional editing more effective. When an editor receives a cleaner manuscript, they can focus on higher-level improvements instead of basic cleanup.

MasterClass recommends these self-editing techniques:

• Take a break first: Walk away from your manuscript for at least a week. You need fresh eyes. Your brain fills in what’s not there after working on something too long.
• Read it aloud: You’ll catch awkward phrasing, clunky sentences, and rhythm problems you miss when reading silently.
• Fix big issues first: Structure, pacing, and major plot holes come before typos. Don’t waste time polishing sentences you might cut entirely.
• Replace weak verbs: Change passive voice to active. Replace adverbs with strong verbs.

And get beta readers. Writing groups, trusted friends who read in your genre, fellow writers—anyone who can give you honest feedback before you pay for professional help. Two or three beta readers will catch big problems and help you understand what’s working and what isn’t.

When should you stop self-editing? When you can no longer see problems. When feedback from different readers becomes contradictory. When you’ve revised the same section five times and can’t tell if it’s better or worse. That’s when a professional becomes necessary.

AI Editing Tools vs. Human Editors

AI editing tools like Grammarly, ProWritingAid, and Hemingway Editor can help with surface-level polish—grammar, spelling, punctuation, and readability—but they cannot replace human editors for deep narrative feedback, structural assessment, or nuanced style guidance. According to ProWritingAid, tools like Hemingway get your manuscript “80% of the way there” and make “the real editing process cheaper and faster.”

That 80% matters. AI tools are useful. But they’re not the finish line.

What AI tools do well: Grammar accuracy, spelling, punctuation, basic clarity, readability scoring. Grammarly catches grammar errors. Hemingway highlights complex sentences and suggests simpler alternatives. ProWritingAid offers comprehensive reports analyzing pacing, dialogue, and structure. For surface-level stuff, they’re fast and affordable.

What AI tools miss: Narrative arc. Character development. Tone consistency. Genre conventions. A developmental editor reads your manuscript and says “This character’s motivation doesn’t make sense in chapter 7.” AI can’t do that. A line editor feels the rhythm of your prose and knows when a sentence needs to breathe. AI can’t do that either.

The best use case for AI tools is in your workflow after self-editing but before professional editing. Run your manuscript through Grammarly or ProWritingAid. Let them catch the obvious stuff. Clean up what they flag. Then send a tighter manuscript to a human editor, who can focus on the work AI can’t touch.

AI tools are getting better fast, but they’re still no match for a human editor who understands your genre and audience.

If you’re on a tight budget, AI tools can help you self-edit more effectively. But don’t convince yourself that running your manuscript through ProWritingAid means you don’t need a human editor. You’re getting 80% polish—not 100% readiness.

How Much Does Professional Editing Cost?

Professional editing for an 80,000-word book typically costs $2,000-$5,000, depending on the type of editing needed. Developmental editing is most expensive at $0.04-$0.07 per word ($3,200-$5,600 for 80,000 words), while proofreading is most affordable at $0.012-$0.024 per word ($960-$1,920 for 80,000 words).

Yes, professional editing is expensive—but publishing a poorly edited book costs you more in the long run.

According to Reedsy’s 2025 rate data, here’s what you should expect to pay:

The Editorial Freelancers Association rate survey is well-known and respected throughout the editorial services and publishing industries. Their data shows copyediting rates ranging from $30-50 per hour. The EFA doesn’t set rates—they just publish what editors actually charge. Use their survey as a benchmark when evaluating quotes.

Several factors affect cost beyond editing type. Editor experience matters—someone who’s edited fifty novels knows more than someone who’s edited five. Genre complexity affects pricing—a technical manual requires more expertise than a romance novel. Manuscript condition matters too—if your draft is a mess, it’ll take longer to edit. And turnaround time: rush jobs cost more.

One more thing: editors book up months in advance. Jane Friedman notes that you should reach out several months before your intended publication date. If you need an editor next month, your options will be limited—or expensive.

Frame this as an investment. You spent months or years writing your book. Hiring a professional editor ensures readers actually see your best work.

How to Find the Right Editor

The best ways to find a qualified editor are through professional organizations like the Editorial Freelancers Association, editor marketplaces like Reedsy, and recommendations from writing communities and published authors. Before hiring, request a sample edit of 1-2 pages to assess compatibility with your work and writing style.

Finding an editor isn’t hard. Finding the right editor for your work requires some vetting.

Where to look:

• Editorial Freelancers Association (EFA): Professional organization with a member directory. Editors listed here have credibility.
• Reedsy: Marketplace connecting authors with vetted editors. You can browse by genre, read reviews, and request quotes.
• Writing communities: Reddit’s r/writing, Facebook writing groups, local writing organizations. Ask for recommendations from writers who’ve published in your genre.
• Published authors: If you know authors in your genre, ask who edited their books. Personal referrals carry weight.

Questions to ask potential editors:

• What’s your experience editing in my genre? (Romance editors and technical manual editors have different skills.)
• Can you provide a sample edit of 1-2 pages? (This is standard practice—don’t hire without seeing their work.)
• What’s your typical turnaround time?
• What does your editing process look like? (How will you communicate? What format will edits be in?)
• What are your rates, and what’s included?

Don’t hire the first editor you find—request sample edits from 2-3 and choose the one who gets your work.

Genre expertise really does matter. An editor who specializes in literary fiction might not understand the pacing requirements of a thriller. Someone who edits business books might not get the voice of a memoir. Find someone who knows your genre.

Sample edits are your best evaluation tool. They should be free for 1-2 pages. Pay attention to whether the editor’s suggestions improve your work without changing your voice. Do their comments feel helpful or condescending? Do they understand what you’re trying to do?

And remember: editors book up months in advance. Start your search early.

Red Flags When Hiring an Editor

Red flags when hiring an editor include rates significantly below market (like $500 for an 80,000-word developmental edit), providing quotes before reviewing your manuscript, lack of knowledge in your genre or subject matter, and promises about bestseller status or guaranteed publication.

If an editor promises your book will be a bestseller, run—they’re selling you fantasy, not editing services.

FirstEditing identifies these warning signs:

• Suspiciously low rates: $500 for an 80,000-word developmental edit is a red flag. Market rate is $3,200-$5,600. If it sounds too good to be true, it is.
• Quotes before seeing your work: Legitimate editors need to review a sample before quoting. Manuscripts vary widely in condition. Anyone giving you a rate without looking at your pages is guessing—or inexperienced.
• No genre expertise: If they’ve never edited in your genre, they don’t understand your readers’ expectations. Pass.
• Editing based on personal preference: “I don’t like first-person narration” isn’t editing—it’s opinion. Good editors follow craft principles, not personal taste.
• Unrealistic promises: “I’ll make your book a bestseller.” “Publishers will fight over this.” No editor can guarantee that. Sales depend on marketing, timing, luck—not just editing quality.
• Poor communication: If they take weeks to respond to initial emails, they’ll be worse once you hire them.
• No verifiable credentials or references: Ask for references. Check reviews. Look for a track record.

Trust your gut. If something feels off, keep looking.

Building a Good Writer-Editor Relationship

A good writer-editor relationship is built on trust, communication, and mutual respect—and it’s important to remember that you don’t have to take every suggestion an editor makes. According to Between the Lines Editorial, “An editor’s job is to work with the writer to polish that writer’s unique voice and ideas.” An editor’s job is to work with you to polish your unique voice and ideas, not to take over your manuscript.

The best editor-writer relationships feel like collaboration, not critique. Editors earn trust by understanding what you’re trying to accomplish and offering suggestions that strengthen your vision—not reshape it into theirs.

Trust builds through listening, adapting, showing respect, and setting clear expectations. Writers earn trust by being open to feedback and willing to revise when the editor’s right.

Here’s the thing: you don’t have to accept every edit. If your editor suggests changing something that feels core to your voice or vision, you can stick to your guns. But have a good reason. “I just like it this way” is weaker than “This character’s voice needs to sound rough here because of where they come from.”

Feedback may sting initially. That’s normal. Seeing your manuscript marked up with comments can feel overwhelming—or even personal. It’s not. The editor is trying to help you make the work stronger. Give yourself a day to process feedback before reacting. Often, suggestions that feel wrong at first make sense once you sit with them.

Communication is key. If something bothers you, speak up. If you don’t understand a suggestion, ask. If an editor’s tone feels disrespectful, that’s a problem—say so, or find a different editor. The relationship only works if both people feel heard.

What to expect during the process:

• Clear timeline agreed upon upfront
• Deliverables specified (manuscript with track changes? Margin comments? Separate editorial letter?)
• Communication preferences established (email? calls? how often?)

Set these expectations before starting. It prevents misunderstandings later.

Frequently Asked Questions

What’s the difference between copy editing and proofreading?

Copy editing addresses grammar, style, and consistency—ensuring clarity and style guide adherence throughout your manuscript. Proofreading is the final typo and formatting check after all other editing is complete. Think of copy editing as polishing the content and proofreading as catching what slipped through.

How do I know what type of editing I need?

If beta readers cite structure or pacing issues, you need developmental editing. If your story works but prose feels clunky, that’s line editing. For solid content that needs grammar cleanup, copy editing suffices. Already been through other stages? Proofreading is your final check.

What are red flags when hiring an editor?

Watch for quotes given before reviewing your manuscript, rates significantly below market (like $500 for an 80,000-word developmental edit), lack of experience in your genre, editing based on personal taste rather than craft principles, and promises about bestseller status or guaranteed publication. A qualified editor will request a sample of your work before quoting and will never guarantee sales success.

Should I use AI tools before hiring a human editor?

Yes—using AI tools like Grammarly or ProWritingAid after self-editing but before professional editing is a smart strategy. These tools catch surface-level errors (grammar, spelling, basic clarity), which means the human editor can focus on higher-level feedback like structure, pacing, and narrative development. This approach often reduces professional editing costs because the manuscript arrives cleaner.

Moving Forward with Your Manuscript

The editor you need depends on where your manuscript is in its journey. Self-edit first, get beta readers, use AI tools for surface cleanup, then hire a professional when you’ve exhausted free resources. Following this sequence maximizes both your learning and your investment.

Here’s your next steps:

Assess where your manuscript is: Have you revised it yourself? Have beta readers reviewed it? What feedback have you received? If readers love the concept but say the execution needs work, that tells you what kind of editing to prioritize.

Follow the process: Self-edit first. Get beta readers. Use AI tools to catch surface errors. Then hire a professional editor when you’ve exhausted free resources and can no longer objectively see your manuscript’s weaknesses.

Plan ahead: Editors book up months in advance. Start your search early. Request sample edits from 2-3 editors before deciding. Look for someone who understands your genre and whose suggestions improve your work without changing your voice.

Your manuscript deserves professional editing—and now you know how to find it.