When a writer says "I need an editor," they could mean half a dozen different things. They might need someone to look at the overall structure of their book. They might need a line-by-line read for clarity and voice. They might need their manuscript checked for grammar and consistency. Or they might need the final pass for typos before it goes to print.
These are genuinely different skills, and the person who is excellent at one is not always the best choice for another. Understanding the distinctions before you start looking will save you time, money, and the particular frustration of having your manuscript edited in the wrong way.
The four main types of editing
Developmental editing (sometimes called structural or substantive editing) looks at the big picture — the overall structure, argument, character arc, pacing, and whether the book achieves what it sets out to do. A developmental editor might suggest reorganising chapters, cutting whole sections, or developing areas that feel underdeveloped. This is the most significant — and most expensive — type of editing, and it happens before line editing. If your manuscript has structural issues, line editing on top of them is wasted money.
Line editing (sometimes called stylistic editing) works at the sentence and paragraph level — clarity, voice, rhythm, word choice, flow between paragraphs and sections. A line editor is not primarily fixing grammar; they're improving how the writing reads. This is the craft-level edit.
Copyediting addresses grammar, spelling, punctuation, consistency, and factual accuracy. A copyeditor checks that your character's eyes don't change colour between chapter three and chapter fifteen, that your dates and figures are consistent, and that your punctuation follows a coherent style. This comes after line editing.
Proofreading is the final pass before print or publication — checking the typeset or formatted document for errors that occurred in the typesetting process, residual typos, and formatting inconsistencies. A proofreader is not re-editing your manuscript; they're checking the final document is clean.
"Hiring the wrong type of editor is one of the most common and expensive mistakes self-publishing writers make."
What type of editing do you actually need?
The answer depends on where your manuscript is and what it needs.
If you're at the end of a first or second draft and you're not sure the book is working — the structure feels uncertain, you're not confident in the pacing, or you've had feedback that something isn't landing — you need a developmental editor first.
If the structure is solid but the writing feels rough in places, you need a line editor.
If the writing is strong but you want a professional check before it goes out — to a publisher, to a competition, or to print — you need a copyeditor.
If you have a typeset manuscript ready to print, you need a proofreader.
Most self-publishing writers working on a serious project will go through at least two of these stages. Developmental or line editing first, then copyediting, then proofreading. Each stage serves a different purpose and catches different things.
Finding an editor in New Zealand
New Zealand has a small but genuinely skilled pool of professional editors. A few places to start:
Editors and Proofreaders Alliance of New Zealand (EPANZ) maintains a directory of professional editors with their specialisations, experience, and contact details. This is one of the most reliable starting points — members have agreed to a professional code of conduct and many are highly experienced.
The NZ Society of Authors can often provide recommendations and connects writers with editors who work with NZ manuscripts specifically.
Word of mouth from other writers remains one of the most reliable referral mechanisms in a small industry. If you know a writer who has self-published a polished book, ask who edited it.
The Writion industry directory lists editors, proofreaders, and other publishing professionals across New Zealand — curated for New Zealand writers and publishing professionals.
What to look for when choosing an editor
Genre experience matters. An editor who is excellent with literary fiction may not be the right person for a business book or a children's picture book. Ask about their experience with your type of writing specifically.
Ask for a sample edit. Most professional editors will provide a paid sample edit — usually two to five pages — before you commit to the full manuscript. This gives you a genuine sense of how they work, whether their editorial voice suits yours, and whether the feedback feels useful.
Understand their process. How do they deliver feedback? A manuscript with tracked changes and a separate editorial letter is very different from a marked-up PDF. Know what you're getting and how you'll use it.
Agree on timeline and cost upfront. Editing a full-length manuscript takes time — a developmental edit might take six to eight weeks, a copyedit three to four. Get a clear quote and timeline in writing before you start.
Working with an editor
A good editorial relationship is a collaboration, not a correction. The editor's job is to help you write the best version of your book — not to rewrite it in their voice. If feedback doesn't feel right, you are entitled to push back and discuss it. The final decisions are always yours.
That said, the writers who get the most from editorial relationships are usually the ones who come to the manuscript with genuine openness to change. The notes that sting the most are often the ones that are most accurate.