Writers often conflate editing with proofreading. In practice, editing happens at several distinct levels — and knowing the difference helps you hire the right person at the right stage. Developmental editing This is the big-picture pass. A developmental editor looks at structure, pacing, character arc, theme, and whether the book works as a whole. They might tell you your protagonist is passive for the first hundred pages, or that your third act collapses because the stakes were never properly established.

Your opening line is the handshake between your book and its reader. Get it wrong, and they walk away before the conversation starts. The best opening lines do at least one of three things: they create tension, raise a question, or drop the reader into a world so vivid they have no choice but to follow. What makes a line work? Strong openers resist the urge to explain. “Call me Ishmael” gives us nothing — and everything.

The most common dialogue mistake writers make is writing what people actually say. Real speech is full of filler, repetition, and half-finished thoughts. Read it on the page and it’s exhausting. Good fictional dialogue sounds natural without being real. It’s edited conversation — the illusion of speech, not a transcript. The function test Every line of dialogue should do at least one of these things: Reveal character Advance the plot Create or deepen conflict Deliver information the reader needs (carefully — this one tips into “on-the-nose” fast) If a line does none of these, it probably shouldn’t be there.