In non-fiction editing, every manuscript arrives with different strengths, challenges and goals, and deciding whether it needs developmental editing, line editing or copyediting is one of my first—and most important—tasks.
Developmental editing focuses on the big picture. I look at the manuscript’s structure, argument flow and overall logic. Are the ideas presented in a logical sequence? Does the content meet the target audience’s needs? Is there essential information missing or redundant sections that slow the reader down? This stage is about shaping the manuscript’s foundation before fine-tuning its language.
Line editing comes next when the structure works but the prose itself needs refining. Here, I examine sentence rhythm, transitions and tone. In non-fiction, clarity and engagement are key. I smooth awkward phrasing, remove repetition and ensure the voice fits both the subject matter and the intended readership. It’s not about fixing grammar alone—it’s about elevating the reading experience.
Copyediting is the most detail-focused stage. This is where grammar, punctuation, spelling and factual accuracy are checked with precision. I also maintain style consistency, from citations and capitalisation to numerical formats. Copyediting ensures the manuscript is publication-ready, free from small errors that could distract the reader.
When deciding what’s needed, I begin with a sample review. If the structure feels unstable, developmental editing is the priority. If the structure works but the prose feels clunky, line editing takes the lead. If the writing is already strong and well-organised, copyediting may be all that’s required.
Ultimately, my role is to meet the manuscript where it is. By selecting the right type of editing, I help ensure that the author’s ideas are not just correct, but compelling, and that their message reaches the reader exactly as intended.