Editorial Assessment 101: What It Is, What It Does, and Why You Might Need One

Editorial assessment, beta reading, developmental editing, copyediting, proofreading, formatting… it can all get a bit overwhelming, especially, if you’re new at it. In this article, I’m breaking down editorial assessments (also called manuscript evaluations or critiques) so you can see where they fit in the process, what to expect, and how they can help you.

What Is An Editorial Assessment?

First things first, what is it? Manuscript evaluation or editorial assessment is a big-picture checkup for your manuscript. It focuses on the overall story, structure, and impact. Basically, after reading your draft, an editor gives you feedback in an editorial letter on what’s working, what’s confusing, and what could be strengthened. The goal is to show an author where the manuscript currently stands and what still requires more work.

But How Does an Editorial Assessment Differ From Developmental Editing?

This is a common question, and it’s absolutely fair that they get mixed up. After all, it sounds like they focus on the same aspects of the manuscript, right? As much as they’re related, they’re not really the same.

Editorial assessment is a one-time evaluation. It provides a detailed editorial letter that highlights your manuscript’s strengths, weaknesses, and opportunities. It’s perfect for those authors who want some guidance, but are confident in their abilities to handle revisions themselves.

Developmental editing, in contrast, is a hands-on process. The editor works closely with an author to revise and restructure your manuscript, often with in-line comments and follow-up discussions. It’s deeper, more involved, and usually more expensive.

When should I get an editorial assessment?

Ideally, after you’ve finished a full draft and done at least one self-revision, but before you send it for copyediting or proofreading.

For an editorial assessment to be actually helpful, you want your story mostly in place, but still flexible enough to handle big changes. Getting an assessment too early may result in generic feedback, and waiting too late could mean expensive rewrites after a copyedit. When in doubt, you can always send an excerpt of your story to an editor (I’m always open to assist) and ask if it’s ready to receive editorial feedback.

Cost & Pricing

When it comes to cost, editorial assessments are quite cheaper than developmental editing, and typically range from around $400 to $1,500, depending on factors like word count, the editor’s experience, and the level of detail provided. Some editors charge per word (usually $0.01–$0.05), others offer a flat project fee, and a few work hourly — so it really depends on both the editor’s approach and your manuscript’s length. If you’d like to see an example of rates and services I offer, you can check them out here.

How to Choose an Editor?

When choosing an editor for an assessment, look for someone whose expertise matches your genre and whose feedback style feels approachable. It’s always a good idea to ask for a sample edit or excerpt if possible, so you can see how they work and whether their approach aligns with your vision.

Moreover, it’s important that you are prepared to receive a professional feedback, which can be the hardest part of your writing journey. For authors who are just in the beginning of their journey, I suggest you choose an editor who is polite and gentle at their feedback, while also detailed and thorough at their arguments and explanations.

To conclude, an editorial assessment is a smart step for any writer who wants to take their manuscript seriously without committing to a full developmental edit right away. It’s detailed, practical, and focused on making your story the best it can be.

If you’d like guidance on whether your manuscript is ready for an assessment, or want a professional eye to spot its strengths and weaknesses, I’d love to help.

Marie Cela is a developmental editor who loves helping writers turn good stories into unforgettable ones. With a background in screenwriting and literary psychology, she brings both rigor and creativity to her work, digging deep into character arcs, themes, and structure while keeping the author’s own vision at the center.

She especially enjoys working with character-driven fiction and historical settings. Marie believes editing is all about collaboration and giving writers the confidence to tell the stories only they can tell.