There are many different editing services, designed to address every step of the writing and publishing journey. From developmental editing (also known as a content or substantial edit) down to the final proofread of a formatted manuscript, editing takes many forms—which can also be confusing if you’re a writer new to the stage.
Understanding what each type of editing means can help you determine what you need for your manuscript. Below are some of the basic approaches to different types of editing.
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We’ll cover—
● Coaching: for real-time, one-on-one work
● Developmental editing: for “big picture” items
● Line editing: for style
● Copy editing: for consistency
● Proofreading: for polish
● What kind of editing is right for you?
Coaching
Okay, so coaching isn’t an editing service, but it is a valuable option for writers, so I’ve decided to include it anyway.
Coaching is a one-on-one experience between you and your editor/writing coach. Many who offer these services offer single sessions, as well as packages that allow you to meet regularly. In these meetings, you can typically make them about any part of the writing process: brainstorming, accountability, worldbuilding, plotting, characters, revision—your editor/writing coach will be there for you at any step you need a little extra push and some immediate feedback. Specialties vary by editor/writing coach, so do your research and see if you can ask for a consultation in order to see if you’re a good fit for each other.
You might see coaching referred to as writing coaching and/or book coaching.
Developmental Editing
Developmental editing looks at your manuscript’s “big picture.” Your editor will analyze your plot and its structure, characters and character arcs, setting and worldbuilding rules, pacing, and more—and then they’re going to explore how all of these things are working together to create the story you’re trying to tell. They’ll look at your strengths and weaknesses and make recommendations for revisions—including why those revisions will be effective long term.
Developmental editing can also be referred to as content editing, structural editing, and substantive editing.
Now, there are different “parts” to developmental editing:
Manuscript Evaluation
The manuscript evaluation, or “edit letter,” is a document wherein your editor will summarize everything mentioned above. Typically it’ll be divided into sections to better explore the different parts of your novel in an isolated state. Length can vary based on the editor’s service and the length of your manuscript, and a every editor’s evaluation will look different; what you can be sure of, though, is that this document will give you a solid bird’s-eye map of your novel, which is perfect for going into revisions.
In-Line Comments
During the developmental stage, editors will also read your novel—often more than once—and leave comments in the margins. Where the evaluation focuses on big-picture items and connecting the parts to the whole, in-line comments allow the editor to ask questions and make suggestions about individual scenes, lines, and moments within the novel. If something is inconsistent or a character’s making a choice that doesn’t make sense—your editor can use in-line comments to call it out. The best part? In-line comments allow editors to point out reactions, as well: If they’re laughing, or shocked, or their feelings change toward a character, they can track how they feel—which means you, as the author, can determine if their reactions are intended by you. If they are, well done! If they aren’t, you have some specific feedback on the exact moments that might need some tweaking.
If it looks like a lot of work is going into that developmental edit: it is. Developmental edits are time-intensive, which means they can also be one of the more expensive steps to editing. If you’re looking to cut costs, many editors will offer a manuscript evaluation on its own, without in-line comments, which offers you a cheaper option, but without the benefit of line-by-line feedback that can also be crucial to revisions.
Line Editing
Line editing is all about style. This is where your editor will make sure that your sentences are smooth and elicit the kind of tone you’re looking for. Repetitive sentence patterns, flow, style, clarity, and consistency is the focus, so making sure your manuscript reads smoothly might involve altering word choice and rewriting/rephrasing sentences to get the desired result. This might also include tracking story elements to ensure consistency in detail throughout the manuscript. The editor will also keep a lookout for spelling, grammar, and punctuation use, but it won’t be the main concern.
Line editing can also be referred to as stylistic editing.
Copy Editing
Copy editing is less involved than line editing. It’s the stage where the editor will focus on consistency of style, and fix any spelling, grammar, and punctuation issues. Consistency doesn’t only look at consistent spelling and punctuation patterns, though: The copy editor will also track plot details, character descriptions, and more to ensure that elements of the entire novel remain consistent. They’ll do this by creating a style sheet, which tracks preferences in punctuation, grammar, spelling, and plot and character details.
It’s worth noting this is the final stage in which en editor will work in a word processing program like Microsoft Word or Google Docs.
Proofreading
Proofreading is the “final round” of editing: looking at general “correctness” of language, fixing typos, inconsistencies in spelling, and ensuring correct and consistent grammar. The proofreader also looks for formatting errors like bad breaks, widows/orphans, stacks, ladders, and more.
If it sounds a lot like copy editing: yes, and no. What differentiates these two is that 1) the proofreading step is completed on an already formatted manuscript, so proofing typically takes place on a PDF using traditional proofing marks, not a Word document or Google Doc using tracked changes; 2) because of this, we have the added perks of the proofreader ensuring the reader can seamlessly travel from one line to the next by looking for errors in formatting, like those mentioned above.
These editing definitions are fairly standard, but different editors might have different approaches based on their skill sets—and not all editors offer each of these services. When contacting editors, be sure to check their websites and ask questions to know exactly what goes into each service—your editor will be able to help you determine which service is the right one for you!
Not sure which kind of editing is right for you? I’ve got you covered. Check out my blog to find out which kind of editing is right for you, and feel free to contact me if you have any questions about the process.
Rachel Oestreich is a freelance editor and writing coach specializing in science fiction and fantasy, working with independent authors, small presses, and publishers like Orbit/Redhook, Sourcebooks, and Haymarket Books.
She holds an MFA in fiction writing and serves as an adjunct English instructor at her local university and community college, teaching courses on rhetoric, composition, creative writing, and fairy tales. When not working, she writes, reads, crochets, drinks tea, and manages her two cats and a basset hound named Grimm.
You can find her on Twitter @rae_oestreich, Instagram @racheloestreich, and her website, The Wallflower Editing.
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