Editing & proofreading, in literary English.

The difference between a manuscript and a book is, in large part, the editing. We work on your text in literary English — not just correct English, but English that reads like literature.

What “literary English” means here

Correct English is the floor: spelling, grammar, punctuation. Literary English is the ceiling: rhythm, register, the right word and not its cousin, the sentence that lands instead of merely parsing. A grammar checker can clear the floor. Reaching the ceiling takes a literary editor’s ear.

We edit only in English, and we edit it as a literary language — for fiction, narrative non-fiction, memoir and poetry. The goal is never to flatten your voice into “clean prose.” It’s to make your voice land harder, in clearer, stronger English.

Editors with 15+ years in literature

Our editors and proofreaders bring more than 15 years of work in literature and in translation. That second part matters more than it sounds: people who have spent years moving books between languages develop a rare sensitivity to how a sentence carries meaning — what survives, what breaks, what a small change does to tone. They read for the seam, the false note, the word that’s almost right. That ear is exactly what literary editing demands.

This is not a marketplace of anonymous freelancers. It’s an editorial team from an established publishing house, applied to your book.

The four levels of editing

Editing isn’t one thing. It’s a ladder, from the big structural questions down to the last comma. You may need one rung or several.

Developmental editing

The big picture. Structure, pacing, plot or argument, character, what’s missing and what should go. This is editing at the level of the book, before the sentences — the most transformative, and the earliest, stage.

Line editing

The sentences themselves. Flow, rhythm, word choice, clarity, tightening the slack, sharpening the strong moments. This is where prose goes from competent to compelling, line by line.

Copy editing

Correctness and consistency. Grammar, punctuation, usage, and a consistent style throughout — spellings, capitalisation, numbers, hyphenation — so the whole book speaks with one settled voice. Includes a style sheet for your title.

Proofreading

The final pass, after layout, before print. Catching the last typos, stray spaces, broken hyphenations and layout slips that survive everything else. The safety net between you and a printed mistake you can’t take back.

Also: blurb writing

The back-cover blurb is the hardest 150 words in your book — it has to sell the whole thing without spoiling it. Most authors agonise over it and still get it wrong. We write blurbs (back-cover and store-description copy) that do the one job a blurb has: make a browsing reader open the book.

Also: manuscript critique

Not ready for full editing, or want to know where you stand first? A manuscript critique is an honest, structured editorial assessment of your book — strengths, weaknesses, what’s working, what isn’t, and what to do next. It’s the cheapest, fastest way to get a professional read before you invest in the full edit. Many authors start here.

What’s included

• Editing in literary English (fiction, non-fiction, memoir, poetry)
• Your choice of level: developmental, line, copy, or proofread
• A clear, tracked-changes edit you can review and accept
• An editorial letter (developmental) or style sheet (copy edit) where relevant
• Optional blurb / back-cover copy
• Optional manuscript critique
• Editors with 15+ years in literature and translation

What you receive

• Edited manuscript — With tracked changes and margin notes you can review and accept.
• Editorial letter or style sheet — Depending on the level of edit.
• Optional blurb — Back-cover and store description.
• Optional critique report — Structured, honest, actionable.

Which level do you need?

• “I’m not sure the book works yet.” → Manuscript critique first, then developmental editing.
• “The story is right, but the writing is flabby.” → Line editing.
• “The writing is there; I need it correct and consistent.” → Copy editing.
• “It’s edited and laid out; I need a final check before print.” → Proofreading.
• “I have no idea where to start.” → Critique. It tells you which level you need.

Editing levels usually run in that order — and a book often needs more than one pass. We’ll tell you honestly which level (or levels) your manuscript actually needs, not the most expensive one. Pricing is by length (total character count, including spaces) and level.

Your manuscript stays confidential — we treat every file as private. If you’d like a signed agreement before sharing it, you can generate one in seconds:

Create an NDA

Editing questions, answered

Do you edit in any language other than English?

No. Editing is English only, and we edit it as a literary language. (Translation into Serbian is a separate service.)

What’s the difference between line editing and copy editing?

Line editing improves how the prose reads — flow, rhythm, word choice. Copy editing makes it correct and consistent — grammar, punctuation, style. Many books benefit from both, in that order.

Will editing change my voice?

No — the point is the opposite: to make your voice clearer and stronger. We edit toward what you’re already doing well, not toward a generic “clean” style.

Can I just get a proofread?

Yes — if the book is already well edited and laid out, proofreading is the right final pass. If it isn’t, we’ll say so honestly.

Do you write the blurb too?

Yes. Blurb and back-cover copy are available with editing or on their own.

How do I know which level I need?

Start with a manuscript critique, or just send the file — we’ll read it and recommend the right level, with a fixed quote.