The questions I ask before editing, and why they matter to your manuscript
When an author sends me a manuscript, they may assume the next step is simple: I open the file and start reading.
I do start by reading, but not immediately.
Before I begin, I need some context. Where is the manuscript in the writing process? What kind of help does the author need? What does the author hope the book will accomplish?
Those answers shape how I approach the manuscript and the kind of feedback I provide.
I’m not asking questions to make the process more complicated. I’m asking because I want to understand what I’m reading before I decide what to look for.
As both an editor and writing coach, I know that no two manuscripts arrive with exactly the same needs. Some writers need big-picture guidance before sentence-level editing. Others have already completed that work and are ready for copyediting or proofreading.
My job is to recognize the difference.
Before I Read, I Need Context
Every manuscript tells me something before I even begin reading.
Is it complete, or am I looking at a sample? Is it an early draft or nearly ready for publication? Has it already gone through revision? What kind of help is the author looking for?
Those details help me determine what I should evaluate and how deeply I need to look at each aspect of the manuscript.
If I’m completing a manuscript evaluation, I step back and consider the book as a whole: structure, organization, pacing, clarity, audience, and whether the manuscript is accomplishing what the author wants it to do.
What Is a Manuscript Evaluation? Why Writers Need One Before Editing
Copyediting requires a different approach. Assuming the manuscript has a solid foundation, my focus shifts to clarity, consistency, grammar, punctuation, and readability while preserving the author’s voice.
Proofreading comes later, after editing and layout are complete, when the manuscript needs a final review before publication.
Each service has a different purpose. Understanding where a manuscript is in its development helps me determine where to begin.
If you’re wondering how a manuscript evaluation differs from developmental editing, I explain that distinction in more detail here:
Manuscript Evaluation vs. Developmental Editing: What Authors Need to Know
The Writer Matters, Too
The manuscript is only part of the picture.
I also want to know something about the writer behind it.
Is this the author’s first book? Have they worked with an editor before? Are they comfortable with revision? What do they hope the manuscript will accomplish?
Those answers affect how we’ll work together.
Some writers want to talk through ideas as they revise. Others prefer written feedback they can consider on their own before asking questions. Some benefit from coaching throughout the revision process, while others need editorial guidance at specific points.
Neither approach is better.
Every writer brings different experiences, strengths, and goals to the project. My role is to meet the writer where they are and provide the kind of support that will help them move forward.
One of the most important parts of revision is learning to see your manuscript through a reader’s eyes.
Why Understanding Your Audience Is the Key to Stronger Revision
Sometimes the First Request Isn’t the Best Starting Point
Many writers know they need editorial help but aren’t sure which service they need.
That’s understandable. Publishing uses a lot of terminology, and the differences between manuscript evaluation, copyediting, and proofreading aren’t always obvious.
Occasionally, an author contacts me asking for copyediting because they want the manuscript polished. After looking at the project, though, I may find that larger issues involving organization, structure, pacing, or audience need attention first.
Polishing sentences won’t solve those problems.
Part of my job is helping authors identify what will have the greatest impact on the manuscript before they invest time and money in editing.
Sometimes that means starting with a manuscript evaluation. Sometimes it means moving directly into editing. And sometimes the manuscript isn’t ready for either one yet.
The right starting point depends on the manuscript.
The Letter of Agreement Sets Clear Expectations
Once I understand the manuscript and the scope of the project, I put everything into writing.
The Letter of Agreement isn’t simply paperwork. It defines the services I’ll provide, the project’s scope, deadlines, fees, deliverables, and each of our responsibilities.
That gives both of us a clear understanding of the work before the project begins.
It’s a small but important part of a good author-editor relationship.
Different Books Require Different Editorial Approaches
One of the reasons I enjoy editing is that no two projects ask me to read in exactly the same way.
A picture book isn’t evaluated like a cookbook.
A cookbook isn’t evaluated like a craft or how-to book.
Each requires a different editorial lens.
When I’m reviewing a picture book, I’m considering pacing, read-aloud quality, page turns, the relationship between the text and illustrations, and whether the story connects with its intended audience.
If you write for children, you may also enjoy:
Picture Book Revision: Why Every Manuscript Needs Multiple Drafts
With a cookbook, I’m looking at organization, recipe flow, consistency, clarity of instructions, and whether readers can successfully recreate the recipes.
With a craft or how-to book, I’m evaluating whether the instructions are complete, logical, and easy for readers to follow from beginning to end.
The genre changes my focus because the reader’s experience changes, too.
That’s Why I Don’t Read Every Manuscript the Same Way
Writers are sometimes surprised by how many questions I ask before I begin.
Those questions aren’t slowing the process down. They’re helping me understand the manuscript so I can focus my attention where it will do the best.
The more I know about the project, the writer’s goals, and the intended reader, the better I can determine what the manuscript needs from me.
That’s why I don’t read every manuscript the same way.
I’m not simply looking for errors on a page. I’m trying to understand the book, the writer’s intentions, and the reader’s experience so I can provide useful editorial guidance.
And when I can help a writer understand why something isn’t working, rather than simply tell them to change it, that guidance can carry into the next manuscript, too.
If you’ve ever wondered what an editor contributes beyond correcting grammar, you may also enjoy:
What Does a Book Editor Actually Do? A Clear Guide for Writers
That’s why I believe editing should strengthen the writer, not just the manuscript.
About the Author
Cassie Armstrong is the owner of MorningStar Editing LLC. She is a book editor, writing coach, and mentor with more than nineteen years of experience helping authors strengthen their manuscripts.
She specializes in children’s books, cookbooks, and craft/how-to books and has worked with publishers, packagers, and independent authors. Her editorial approach begins with understanding the manuscript, the writer’s goals, and what the project needs before determining the best way to help.
Cassie believes editing should strengthen the writer, not just the manuscript.