I have wanted to demystify the editing process for a while. I find that the term “editing” has been used as one thing, and “editor” as one person, but that doesn’t align with my experience in either technical writing or creative nonfiction. I wanted to get a better sense of the editing process from a book level perspective, rather than an article perspective. Editing a book is much more complex.
My writing process involves a lot of editing that I do myself. I tend to write out my ideas and outline in the form of a brain dump. I just write. I don’t worry about structure or whether what I’m writing flows. Once I get all the information out of my brain, I go back and edit. First for structure, organizing ideas into a logical flow, and then by paragraph figuring out what fits where. All the while I figure out my voice and align with specific style requirements.
One of the workshops I attended during my MFA residency–presented by an acquisitions editor–was about the different types of editing that happens with books, both fiction and nonfiction. I took the following notes about different types of editing:
- Manuscript critique – general assessment, bird’s eye view, results in editorial memo
- Developmental editing – Gives you manuscript notes, looks at scenes and plot
- Substantive / content editing – how is your story organized, style, pacing, structure
- Line editing / style editing – looking at each sentence, very detailed, wordsmithing, almost final draft
- Copy Editor – spelling, grammar, punctuation, word usage, language consistency
- Proofreader – fact checking
- Sensitivity reader – stereotypes, special areas outside of your expertise
One thing that is clear to me is that there is overlap in these types of edits, but also it still wasn’t that clear to me how it all fit together. I then asked ChatGPT (3o) to give me a better outline of the editing process with definitions. I found the information very useful, so I’ve pasted it below. The one thing that I would change is that a sensitivity edit would happen early in the process. As a writer, I do not want my works to get past big picture editing or content editing without having gone through a sensitivity edit. I want to identify any sensitivity issues early, so that they don’t propagate throughout the telling of the story.
I have other questions about editing – when does editing become authorship? At what point is the editor doing the work of the author? What do you think?
ChatGPT (o3 model)
Prompt: Describe the different types of editing and the complete editorial process for a published book – include the following with definitions – Manuscript critique, developmental editing, substantive editing, content editing, line editing, style editing, copy editing, proofreading, sensitivity reading, copyright
Response:
Here’s a clear, soup-to-nuts walk-through of the editorial journey a manuscript takes on its way to becoming a published book, plus plain-language definitions of each editing step you asked about. Think of the process as moving from “big picture” to “fine print,” with a couple of specialised checks running parallel.
The Typical Editorial Timeline
| Stage | Goal | Key Players | When It Happens |
|---|---|---|---|
| Idea & Drafting | Author gets words on the page. | Author | Before an editor even sees it. |
| Manuscript Submission / Acquisition | Agent or publisher decides whether to take the project on. | Author, agent, acquisitions editor | Pre-contract. |
| Editorial Assessment | Quick read to scope the work needed (can include a manuscript critique). | Editorial or commissioning editor | Right after contract (or by a freelance editor pre-submission). |
| Big-Picture Editing | Deep structural work (developmental / substantive / content editing). | Developmental editor, author | Early, often multiple rounds. |
| Sentence-Level Editing | Polish language and style (line & style editing). | Line editor | After structure is solid. |
| Technical Accuracy | Correct grammar, spelling, references (copy editing). | Copy editor | Once the prose is “set.” |
| Layout & Typesetting | Text is flowed into final page design or e-book template. | Designer, typesetter | After copy-edit queries are settled. |
| Quality Control | Catch lingering typos or layout glitches (proofreading). | Proof-reader, sometimes author | After typeset pages, just before print. |
| Specialised Reads | Sensitivity reading, fact-checking, legal and copyright clearance as needed. | Subject-matter experts, legal | Slotted in wherever timing fits, but ideally before copy edit. |
| Publication & Beyond | Files go to printer / e-retailers; marketing kicks in. | Production, marketing | Launch day and thereafter. |
Key Editing & Review Types (Alphabetical)
Manuscript Critique
A high-level, written report (5–15 pages) highlighting strengths, weaknesses, market fit, and big-ticket issues (plot holes, pacing, voice). No actual text changes—just guidance. Great reality check before deeper edits.
Content Editing
Umbrella term that zooms in on what the book says: structure, argument flow, plot logic, character arcs, information gaps. In trade publishing this often equals substantive or developmental editing; in education/STM it can be a separate pass focusing on clarity and pedagogical soundness.
Copy Editing
The technical polish: grammar, punctuation, spelling, factual consistency, Canadian style (colour, centre, practise [v.]). Also enforces the house style guide, checks cross-references, flags possible permissions issues, and builds a style sheet for proof-readers.
Developmental Editing
The most hands-on, collaborative stage. Looks at concept, structure, theme, market positioning, and, for fiction, plot and character development. The editor may suggest re-ordering chapters, rewriting scenes, or even rethinking the book’s premise.
Line Editing
A sentence-by-sentence massage. Focuses on flow, rhythm, word choice, voice consistency, and removing repetition or filler. Think “make the prose sing,” not “fix the comma.”
Proofreading
The final safety net after the manuscript is laid out. Catches typos, bad line breaks, extra spaces, widows and orphans, and anything that slipped through copy edit or emerged during typesetting. Traditionally done on PDFs or hard-copy page proofs.
Sensitivity Reading
A subject-matter or lived-experience expert reviews depictions of race, culture, gender, disability, etc., looking for stereotypes, inaccuracies, or harmful tropes. Provides notes rather than rewriting the text.
Style Editing
Sometimes bundled with line editing. Ensures consistency with a style manual (e.g., Chicago, APA) and the publisher’s in-house rules—capitalisation, numeral treatment, citation format, etc.
Substantive Editing
Synthesises developmental and content work but may involve heavier rewriting by the editor. Re-casts paragraphs, clarifies arguments, trims tangents—anything to improve logic and readability without altering the author’s voice.
Copyright (Clearance & Notices)
Not an “edit” per se, but a parallel legal step. Ensures all third-party quotes, images, lyrics, or tables are either in the public domain, used under fair dealing/fair use, or licensed. Also verifies that copyright page metadata (© line, ISBN, catalogue-in-publication) is correct.
Putting It All Together
- Start big: Manuscript critique or developmental/substantive edit shapes the book’s foundations.
- Narrow focus: Line & style edits refine language; copy edit locks down technical details.
- Freeze the text: Typeset or format for e-book.
- Catch the stragglers: Proof-read post-layout.
- Special checks: Sensitivity reads, fact-checking, and copyright clearance overlay wherever needed but must finish before the book goes to press.
- Sign-off: Author approves proofs, presses “print,” and celebrates.
Quick Cheat Sheet
- Critique = overall advice.
- Developmental = structure/vision.
- Substantive/Content = deep rewrite for clarity & logic.
- Line/Style = prose flow & consistency.
- Copy = mechanics & facts.
- Proof = final typos/layout.
- Sensitivity = respectful representation.
- Copyright = legal right to publish.
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