What Type of Editing Does Your Fiction Manuscript Need? |
Do you know what type of editing your fiction manuscript needs?
The short answer:
The short answer:
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The full answer: it's complicated.
You've probably noticed discrepancies in editing definitions and descriptions of freelance editing services scattered across the web. It's confusing, I know.
Partly this is because different industries have different editorial needs--a newspaper doesn't operate the same as a book publisher, and narrowing further, fiction has different editorial needs than a non-fiction manuscript. Added to the google soup is the confusion perpetuated by sources unintentionally spreading misinformation due to being misinformed themselves—as with anything on the internet, a source is only as good as a source's source.
But really, the bulk of confusion stems from there being no single global authority that editors look to for their definitions.
So how is a writer supposed to figure out what kind of editor they need to hire and who offers the best value for their rates?
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With that in mind, the fiction editing definitions I list on this page come from my extensive research with industry leaders like the EFA, CIEP, EAC, IPEd, CMOS, New Hart's Rules, countless respected blogs and websites, and from speaking to fellow editors, industry professionals, and members of some of the aforementioned organizations.
In the end, though, this is my educated amalgamation of information, not the gospel, so before you hire a freelance editor, you should always ask how that editor breaks down their editing process.
I know, I know, there are far too many terms for this type of top-level editorial input!
Some people also use these terms as synonyms for developmental editing and substantive editing (see next two sections), but many see this as a significantly lighter service, including me.
What does a manuscript or editorial assessment/evaluation/critique address in fiction?
You might also know the term beta reading and wonder how it fits into this tangled web. My view is that beta reading is the non-professional and therefore free or cheap version of an editor's manuscript assessment. A beta reader is a fellow author, ravenous reader, friend, or family member who gives you their personal opinion on your manuscript. For more information, please take a look at the beta reading service I offer where I match authors with suitable beta readers who answer 80+ questions designed by me to get you the most actionable feedback possible.
Although I occasionally do manuscript assessments, it's not a service I routinely offer. If you really want to work with me, though, you're always welcome to ask if I'd be interested in your project.
Some people also use these terms as synonyms for developmental editing and substantive editing (see next two sections), but many see this as a significantly lighter service, including me.
What does a manuscript or editorial assessment/evaluation/critique address in fiction?
- Manuscript assessments/etc. offer light feedback on a manuscript's condition.
- Manuscript assessments address pivotal big-picture issues like overall plot, characters, story structure, and writing style. This feedback lets the author know the positives and negatives of the manuscript and it provides insight as to whether readers will perceive the story as the author intended. This service does not include problem solving complex or frequent content issues. Advice will be specific to the types of issues present in the manuscript, but the advice will often be somewhat generic and point to references where the author can further study-up on a skill or concept on their own.
- Manuscript assessments can be done for an outline, a work in progress, or a completed draft.
- Manuscript assessments come in the form of a letter, usually 3–6 pages, and there will be no mark-up in the manuscript.
You might also know the term beta reading and wonder how it fits into this tangled web. My view is that beta reading is the non-professional and therefore free or cheap version of an editor's manuscript assessment. A beta reader is a fellow author, ravenous reader, friend, or family member who gives you their personal opinion on your manuscript. For more information, please take a look at the beta reading service I offer where I match authors with suitable beta readers who answer 80+ questions designed by me to get you the most actionable feedback possible.
Although I occasionally do manuscript assessments, it's not a service I routinely offer. If you really want to work with me, though, you're always welcome to ask if I'd be interested in your project.
As mentioned in the previous section, some people lump the role of developmental editing in with the terms assessment, evaluation, and critique, but many do not, including me.
Some people also consider developmental editing and substantive editing (see next section) to be the same thing while others use the term as a distinctly separate type of work. I agree with the latter camp, and that's the explanation I'm going to give here.
What does developmental editing/book doctoring/coaching address in fiction editing?
Although I occasionally do developmental editing, it's not a service I routinely offer. If you really want to work with me, though, you're always welcome to ask if I'd be interested in your project.
Some people also consider developmental editing and substantive editing (see next section) to be the same thing while others use the term as a distinctly separate type of work. I agree with the latter camp, and that's the explanation I'm going to give here.
What does developmental editing/book doctoring/coaching address in fiction editing?
- Developmental editing/etc. addresses issues at the whole book and chapter level. The focus is on overall execution of storytelling concepts (interesting characters, sound plot, balanced structure and pacing, etc.), addressing the skill of the writing itself, and possibly guiding revisions based on the intended publishing market.
- Developmental editing is generally for a writer who doesn't have a good grasp of certain storytelling or writing techniques, and that issue is the driving force behind why their story isn't well written.
- Developmental editing is for a work in progress (WIP) or a completed draft that an author feels isn't working, or for an author's completed draft that is not well-received by first readers (aka beta readers, critique partners, friends, and family), agents, or publishers.
- Developmental editing is deep editing. It may result in the author reworking a plot thread or character in its entirety, rewriting or reordering large portions of the manuscript, or possibly writing an entire new draft after further developing a particular writing skill. The manuscript may be exchanged multiple times until the writing is strong and the story elements are entirely ironed out.
- A developmental editor is a mentor who teaches and helps an author build core storytelling skills. They also brainstorm and contribute plot, scene, and character solutions. The editor will sometimes do light rewrites, but they do not heavily rewrite to the point of becoming a ghost-writer. A developmental editor may also do market and genre research and guide in all aspects of project development.
Although I occasionally do developmental editing, it's not a service I routinely offer. If you really want to work with me, though, you're always welcome to ask if I'd be interested in your project.
As mentioned previously, some editors use the term substantive editing synonymous with assessments, evaluations, critiques, and developmental editing; I do not.
Substantive editing is for a manuscript that has some scene, plot, or character issues but is in great shape as a whole, with quality writing and storytelling execution. If a multitude of the issues listed in this section are present in the majority of a manuscript to where massive rewrites are needed throughout, you need a developmental edit. See section above.
What does substantive editing/content editing/structural editing address in fiction manuscripts?
Most manuscripts need to start with a substantive edit. Nearly all manuscripts have content that could use some improvement.
In traditional publishing, the acquiring editor works with the author on substantive editing before passing the manuscript to a copy editor. Self-publishing authors should take the same professional approach by starting at the beginning of the editorial process. Give your book every opportunity to succeed!
Are you planning to submit your manuscript to an agent or publishing house? Most will only consider a manuscript once, and if they think too much substantive editing will be needed on their end they'll most likely reject the manuscript instead of offering a contract. And unless they personally invite you to resubmit after you make changes on your own, you'll likely have lost your chance with them. So, before you submit to and get rejected by the agent or publisher of your dreams, you may want to hire a freelance editor to substantive edit your manuscript first. If you've already been rejected by your top pick agents or publishers, it's a good idea to hire a freelance editor before submitting elsewhere.
When an author gets a substantive edit back from an editor and sees that there is still hard work to be done, there's often a bottle of wine or a box of chocolates needed. Or both. Chuck Wendig has even defined the Kubler-Ross Model of Grief Associated With Editing And Rewriting. But don't fret! Your editor is your partner, not your enemy, and you'll do a happy dance once you see how your next draft is even more amazing than your last.
Want to hire me for substantive editing? Please see my editing rates page for information on how I tailor this service. This type of editing is my favorite kind of work!
Substantive editing is for a manuscript that has some scene, plot, or character issues but is in great shape as a whole, with quality writing and storytelling execution. If a multitude of the issues listed in this section are present in the majority of a manuscript to where massive rewrites are needed throughout, you need a developmental edit. See section above.
What does substantive editing/content editing/structural editing address in fiction manuscripts?
- Substantive editing/etc. is targeted at tweaking, rewriting, cutting, or reordering scenes, pages, and paragraphs. The focus is on fine-tuning big-picture elements like three-dimensional characterization, protagonist likability, character arcs (do they grow?), GMC (Goal, Motivation, Conflict), using secondary characters to best advantage, plot holes, unresolved threads, pacing, tension, climaxes, following the principals of the Three-Act Structure (when applicable), content relevancy and necessity, plausibility vs. suspension of disbelief (logic is an issue I go after intensively; it's the number one issue in most manuscripts), head-hopping, world-building, fact-checking elements that underpin overall plot or character concepts, romance satisfaction (if applicable), red herrings and mystery satisfaction (if applicable), and more.
- Substantive editing is for good writers who understand good storytelling. But even well-written stories will have content issues that can benefit from objective insight.
- Substantive editing starts once an author feels they've written their final draft. They think it's perfect, and probably their mom does too; first readers like it overall but may have a few critiques; agents or publishers may express a degree of interest but don't feel it's quite "there."
- At this stage, the editor is the reader's advocate, helping the writer see issues from the reader's perspective.
- Substantive editing is primarily done through an editorial letter, typically 10-25 pages in length. The editor points out the issues and suggests solutions, but the writer is the one who does the majority of rewrites to solve problems according to their vision for the story. Within the manuscript itself, there will be hundreds of comments and light edits to highlight examples of issues addressed in the editorial letter. There may also be relatively minor or page-specific content issues addressed within the manuscript that were not included in the editorial letter.
Most manuscripts need to start with a substantive edit. Nearly all manuscripts have content that could use some improvement.
In traditional publishing, the acquiring editor works with the author on substantive editing before passing the manuscript to a copy editor. Self-publishing authors should take the same professional approach by starting at the beginning of the editorial process. Give your book every opportunity to succeed!
Are you planning to submit your manuscript to an agent or publishing house? Most will only consider a manuscript once, and if they think too much substantive editing will be needed on their end they'll most likely reject the manuscript instead of offering a contract. And unless they personally invite you to resubmit after you make changes on your own, you'll likely have lost your chance with them. So, before you submit to and get rejected by the agent or publisher of your dreams, you may want to hire a freelance editor to substantive edit your manuscript first. If you've already been rejected by your top pick agents or publishers, it's a good idea to hire a freelance editor before submitting elsewhere.
When an author gets a substantive edit back from an editor and sees that there is still hard work to be done, there's often a bottle of wine or a box of chocolates needed. Or both. Chuck Wendig has even defined the Kubler-Ross Model of Grief Associated With Editing And Rewriting. But don't fret! Your editor is your partner, not your enemy, and you'll do a happy dance once you see how your next draft is even more amazing than your last.
Want to hire me for substantive editing? Please see my editing rates page for information on how I tailor this service. This type of editing is my favorite kind of work!
Some people lump line editing in with copyediting. Perhaps this is because nowadays a lot of editors do line editing simultaneous with copyediting (as I do) due to changes in publishing models. Regardless, line editing targets specific elements.
What does line editing/stylistic editing address in fiction manuscripts?
Want to hire me for line editing? Please see my editing rates page for information on how I tailor this service in combination with copyediting.
What does line editing/stylistic editing address in fiction manuscripts?
- Line editing/etc. is targeted at improving paragraphs and sentences. The focus is on elements such as syntax, best word choices, awkward phrasing, word and phrase overuse, variation of sentence construction, resolving ambiguities, "showing" vs. "telling," beats interspersed with dialogue, ensuring dialogue is age appropriate and culturally accurate, amping up or toning down sex scenes, world-building details, setting scenes using all five senses, eliminating clichés, fact-checking elements that affect other details in the story, pointing out anachronistic expressions or references used in historicals, ensuring chapters end with a hook, and more.
- From this stage onward, the editor becomes the writer's advocate, focusing on how to help the writer say it best and look their best as an artist.
- The editor will be responsible for making many of the changes within the manuscript, but some issues will be left for the author to change according to their vision for the story.
Want to hire me for line editing? Please see my editing rates page for information on how I tailor this service in combination with copyediting.
As if wading through editing lingo wasn't tough enough, editors can't even agree on a single spelling for what they do! Some might find it ironic, but really the spelling variations for the word copyediting and copy editor are the perfect examples to illustrate how useful an editor can be for an author. Spelling and style choices can be dependent on which style guide is most appropriate for the text, such as American fiction publishing being guided by The Chicago Manual of Style, which uses copyedit, rather than the AP Stylebook, which uses copy edit. Spelling and style can also be regional, such as the US Merriam-Webster dictionary using copyedit while the UK Oxford dictionary uses copy-edit. But even regionally there can be variances, like the US Chicago Manual of Style using copyeditor while US Merriam-Webster uses copy editor. When words that have various spelling options pop up in a manuscript, an editor will ensure the most appropriate spelling options are used—and used consistently—throughout the entirety of the manuscript.
What does copyediting address in fiction manuscripts?
This is the point at which an editor makes a style sheet for the sake of tracking consistency details. I make meticulous style sheets that include timelines, which I pass on to my authors. The style sheet will be used to check consistency for any further edits that either you or I make during later revisions, and then it becomes a tool for the proofreader. Style sheets are also invaluable as a "series bible" to track character and timeline consistency across a series.
Want to hire me for copyediting? Please see my editing rates page for information on how I tailor this service in combination with line editing.
What does copyediting address in fiction manuscripts?
- Copyediting is targeted at fixing elements of sentences, addressing correctness rather than artfulness of expression.
- Copyediting focuses on elements such as detail and description consistency (making sure the hero's eyes stay the same color throughout, a house doesn't grow an extra bedroom, if a character is standing on page 10 they aren't said to be rising from a chair on page 11, etc.), timeline consistency (ensuring references to seasons, events, ages, and the passing of time stay accurate; a character doesn't go to their office job 9 days in a row; a woman's missed period occurs when it should; there aren't two full moons in the same week, etc.), grammar, correct word usage (such as die vs. dye), punctuation, adherence to a style guide or a publisher's house style, fact-checking minor details such as business names and historic dates, formatting elements like text messages and letters, flagging potential copyright and legal issues, and more.
- The editor will make nearly all of the changes within the manuscript, not the writer.
This is the point at which an editor makes a style sheet for the sake of tracking consistency details. I make meticulous style sheets that include timelines, which I pass on to my authors. The style sheet will be used to check consistency for any further edits that either you or I make during later revisions, and then it becomes a tool for the proofreader. Style sheets are also invaluable as a "series bible" to track character and timeline consistency across a series.
Want to hire me for copyediting? Please see my editing rates page for information on how I tailor this service in combination with line editing.
Proofreading is yet another term that can mistakenly be lumped in with copyediting, especially in the new era of electronic documents. It is, however, an important process of its own.
If you're an author planning to submit to agents or publishers, you do not need a professional proofread. The types of errors that are addressed by proofreading are not the type of thing that would prevent an agent or publisher from acquiring your manuscript. If you are going to self-publish, you should hire a proofreader.
What does proofreading address in fiction manuscripts?
Editors Beth Hill and Arlene Prunkl both have great posts that go into detail on proofreading vs. editing.
Just like what happens to writers, an editor becomes too close to the material after several read-throughs and the mind will start to auto-fill what it expects to see, which is why your proofreader should be someone other than your editor. And yes, some typos and errors will always slip through during a copyedit; in fact, even after a copyedit and several proofreaders you’ll still often find a few typos remaining!
Proofreaders can come into play before and after a manuscript has been typeset (formatted and designed for publication). In traditional publishing a proofreader might work on the final version of a manuscript as a Word doc or pdf before it's been typeset to catch typos (called a galley proof) and then follow it with a second proofread after typesetting to catch layout issues and anything else that may have gone wonky during typesetting (called a page proof).This second proof is usually what's used for printed and bound ARCs that get sent to the media. In indie publishing, it seems most common to have a professional proofreader work on the final Word doc, then have it typeset, and then the author is responsible for the final proofread to confirm the layout is correct. Since time equals money, this ensures you won’t have to pay the designer to make a ton of content corrections to the typeset file. Check with your designer, though, because everyone has a different way of doing things.
Back when typesetting meant physically arranging type for a printing press, you can imagine what an expensive hassle it would have been to make changes after the trial print run. The electronic process is much easier today, but the goal should still be to restrict yourself to correcting only errors at the proofreading stage, not tinkering or rewriting, because changes may have a knock-on affect that won't be caught until after publication, when a reader points out a discrepancy in a review. And after all, isn't that why you've paid professionals, to avoid as many negative reviews as possible?
If you're an author planning to submit to agents or publishers, you do not need a professional proofread. The types of errors that are addressed by proofreading are not the type of thing that would prevent an agent or publisher from acquiring your manuscript. If you are going to self-publish, you should hire a proofreader.
What does proofreading address in fiction manuscripts?
- Proofreading is for double-checking, not assessing or improving. A proofreader checks nearly all of the same things that a copy editor does, but the difference is that the proofreader is looking for the hard-and-fast mistakes that were missed during the copyedit, not seeking to improve the text.
- Traditionally, a proofreader also checks to ensure that no formatting errors were introduced when the file was typeset or designed for publication.
- A proofreader uses the copy editor's style sheet as a guide for correcting inconsistencies.
- Usually proofreading only results in changing isolated phrases, words, or punctuation, not entire sentences.
Editors Beth Hill and Arlene Prunkl both have great posts that go into detail on proofreading vs. editing.
Just like what happens to writers, an editor becomes too close to the material after several read-throughs and the mind will start to auto-fill what it expects to see, which is why your proofreader should be someone other than your editor. And yes, some typos and errors will always slip through during a copyedit; in fact, even after a copyedit and several proofreaders you’ll still often find a few typos remaining!
Proofreaders can come into play before and after a manuscript has been typeset (formatted and designed for publication). In traditional publishing a proofreader might work on the final version of a manuscript as a Word doc or pdf before it's been typeset to catch typos (called a galley proof) and then follow it with a second proofread after typesetting to catch layout issues and anything else that may have gone wonky during typesetting (called a page proof).This second proof is usually what's used for printed and bound ARCs that get sent to the media. In indie publishing, it seems most common to have a professional proofreader work on the final Word doc, then have it typeset, and then the author is responsible for the final proofread to confirm the layout is correct. Since time equals money, this ensures you won’t have to pay the designer to make a ton of content corrections to the typeset file. Check with your designer, though, because everyone has a different way of doing things.
Back when typesetting meant physically arranging type for a printing press, you can imagine what an expensive hassle it would have been to make changes after the trial print run. The electronic process is much easier today, but the goal should still be to restrict yourself to correcting only errors at the proofreading stage, not tinkering or rewriting, because changes may have a knock-on affect that won't be caught until after publication, when a reader points out a discrepancy in a review. And after all, isn't that why you've paid professionals, to avoid as many negative reviews as possible?
I hope these editing definitions have helped you determine what type of editing your fiction manuscript is ready to undergo. Please contact me with any questions or alternate opinions on how I've broken down the editing terminology.
Want to know how much I charge for these various services? Please see my editing rates page.
Want to know how much I charge for these various services? Please see my editing rates page.
When you write you tell yourself a story. When you rewrite you take out everything that is NOT the story.”
― Stephen King