Let’s clear something up straight away.
Most people talk about fonts.
What they usually mean is typefaces.
And yes, even on a screen, the distinction still matters.
Typeface vs Font
A typeface is the design.
The overall look, character, and structure of the letters.
A font is the implementation of that design.
The specific file, weight, size, and style you use.
So:
Calibri is a typeface
Calibri Body, size 10 is a font
In everyday conversation the terms are often used interchangeably, and that’s fine. But in professional writing and publishing, understanding the difference signals care, precision, and respect for the craft.
And those qualities show up on the page.
Why typeface choice matters at every stage
Typeface choice isn’t decoration.
It’s infrastructure.
From first draft to final proof, the right typeface:
· reduces visual fatigue
· improves readability
· supports clarity of thought
· makes a document feel settled
· and stops the writing getting in its own way
A poor choice, by contrast, creates friction. The reader may not consciously identify the problem, but they will feel it.
This matters at every stage of the process:
· drafting
· editing
· sharing manuscripts
· professional review
· typesetting
· print
Good writing deserves a neutral, trustworthy vehicle.
Why I always use Calibri Body, size 10
I’m often asked why my manuscripts arrive looking so clean and calm.
The answer is simple: consistency, restraint, and legibility.
My default working choice is:
Calibri Body, size 10
Here’s why.
1. It’s neutral-in the best possible way
Calibri doesn’t shout. It doesn’t perform. It doesn’t try to be clever. That neutrality allows the content to do the work, which is exactly what you want in a professional manuscript.
2. It’s exceptionally readable on screen
Calibri was designed for screen use, and it shows. At size 10, line length and spacing sit in a sweet spot that reduces eye strain over long reading sessions — vital when you’re working with tens of thousands of words.
3. It edits beautifully
Good editing requires seeing patterns, repetitions, rhythm, and structure. Calibri’s clarity makes this easier. Nothing is disguised by ornamentation or novelty.
4. It travels well
Whether a document is opened on a laptop, desktop, tablet, or shared with designers, proofreaders, or printers, Calibri behaves predictably. That reliability matters more than people realise.
5. It signals professionalism
There is a reason Calibri became the default typeface for serious documents for many years. It looks grown-up, not cold or corporate, but composed, considered, and competent.
The temptation to “make it look like a book”
One of the most common mistakes writers make is trying to style a manuscript too early.
Novelty fonts.
Book-like layouts.
Decorative choices before the writing is finished.
This almost always makes the work harder to read, harder to edit, and harder to assess honestly.
Manuscripts are working documents.
They should prioritise clarity over character.
Design comes later: and when it does, it deserves its own stage, its own expertise, and its own decisions.
Quiet choices make strong books
Typeface choice won’t rescue weak writing-but poor choices can absolutely undermine strong work.
Calibri Body, size 10 isn’t exciting.
That’s precisely the point.
It creates a calm, professional environment in which ideas can be developed, challenged, refined, and strengthened without distraction. It respects the reader, the editor, and the process itself.
In publishing, the best decisions are often the ones nobody notices — except in the way everything feels easier, smoother, and more assured.
That is true of typefaces, just as it is of good writing.
A brief footnote on typefaces best left behind
Certain typefaces continue to appear in manuscripts not because they are good choices, but because they are familiar.
Familiarity, however, is not the same as suitability.
Times New Roman is the most obvious example. It remains the default for many writers thanks to its long association with word processors, academic work, and official documents. What is often forgotten is why it exists at all.
Times New Roman was designed in the 1930s for newspaper printing — specifically to fit large amounts of text into narrow columns while remaining legible on low-quality paper. It was never intended as a working manuscript typeface, nor was it designed for extended on-screen reading.
As a result:
· it is dense and visually tight
· it fatigues the eye more quickly on screens
· it encourages overly long, heavy paragraphs
-and it lends manuscripts an unnecessarily academic or bureaucratic tone
For serious writers, this subtly undermines the work. The writing may be strong, but the presentation signals “default” rather than “considered”.
Other typefaces that often fall into the past their best category include:
· Comic Sans (never appropriate for professional writing)
· Courier / Courier New (historically useful for scripts and drafts, but clumsy for modern long-form work)
· Arial (functional, but blunt and inelegant for sustained reading)
· Novelty or decorative fonts, which draw attention to themselves rather than the writing
None of these are wrong in absolute terms, they simply belong to contexts that are rarely appropriate for book manuscripts.
A serious manuscript benefits from a typeface that is neutral, readable, and quietly competent. One that supports the work rather than announcing itself.
In publishing, the best choices are often invisible ones
