Editorial Process | B Franceschi Editing

The Editing Process

Editing, as simple as it sounds, is actually a multi-step hierarchy of different processes. Here, I'll introduce you to the different stages and tell you what to look for when choosing an editor.

Developmental Editing

Developmental editing is one of the first steps in the writing and editing process. This happens after you have completed your first or second drafts, and after any alpha readers have given feedback.

The developmental edit has nothing to do with grammar, punctuation, or being "correct". This stage is all about the big picture: Does your plot make sense? Is it paced correctly? Are there scenes that need to be added or deleted? Is your manuscript the right length? Are there plot holes? Your editor will also consider whether your book fits the genre, its point of view is best for the story, and whether you have written what your readers expect. All of this (and more) is what your developmental editor will consider as they read your manuscript.

Generally, your developmental editor will provide you with either in-line comments, an editorial letter, or both. Keep in mind that, at this stage, the editor will NOT make changes directly in the text. The comments and editorial letter will explain the editor's recommended changes and modifications, but you as the author are responsible for implementing any or all of the changes.

The service I offer is a manuscript evaluation. It is where I address plot, structure, characterization, pacing, language, and mechanics. I won't make any changes to your manuscript, but I will leave comments in the document and give you my comprehensive feedback in a separate letter.

Line editing comes after developmental editing and two or three drafts have been completed. You may even complete a second or third draft before hiring a line editor. This stage begins to incorporate what most people would think of as editing: word changes, paragraph fixes, and some grammar and punctuation.

Your line editor is going to read through your manuscript at least twice. The first pass is a quick read-through to get to know the plot and characters, as well as to get a feel for your authorial voice and writing style. The second pass is slow and meticulous; your editor is going line by line and paragraph by paragraph, looking at your language for rhythm, flow, and meaning. The editor works to maintain your voice while ensuring that word choice and sentence structure work together for the coherence and readability of your writing.

This is my favorite type of editing to do. I like to think of it as medium-grit sandpaper for your writing. I help you refine and smooth the text to make sure it conveys its intended message and that your readers will want to read it through to the end.

Your copy editor will usually work in Microsoft Word, and sometimes Google Docs, using the track changes feature as they edit. Keep in mind that, as the author, you have final say as to whether a change will be made or not. Your editor merely makes suggestions.

Line Editing

Copy Editing

Copy editing is what most people think of when someone says they're an editor. Continuing the woodworking metaphor, this is the fine-grit sandpaper phase. This is where your editor look into the mechanics and usage of your language: grammar, usage, and punctuation. They will also fix spelling errors or ensure conformity to a style of spelling, such as UK '-ize', UK '-ise', or US. This stage of the process is often combined with the line editing, as they overlap and complement each other.

This phase, along with correcting errors, is also where you decide matters of style. With punctuation, usage, and spelling, there are several standards, all equally correct. This can be with numerals versus spelled numbers, serial comma usage, single or double quotation marks, hyphenation, and more. While this can seem pedantic, adherence to one style makes reading the text easier; you don't want your readers wondering why you spelled one word two different ways or have different punctuation rules in different chapters. It is distracting, and the last thing you want to do is pull your reader out of the story for mundane mistakes.

Your copy editor will create a style guide for your manuscript that includes all of the style choices you made, as well as character names and details, how character thoughts are styled, and author preferences that may differ from the style guide used by the editor. What this does is maintain consistency, especially in a book series, by laying out the choices made and ensuring each editorial pass makes the same decisions.

Proofreading is the last step in the editorial process. The term comes from the "galley proofs" that proofreaders would mark up in traditional print publishing. Galley proofs are the preliminary version of your completed and formatted manuscript. At this stage, the time for large changes has passed; Proofreaders aim to make as few changes as they can and that the changes they do make are absolutely necessary. They look at not only grammar, spelling, punctuation, and style but also formatting issues such as widows, orphans, indents, headers and footers, and page numbers.

Unlike the rest of the editing stages, proofreading is usually done on PDF files these days. Your proofreader will mark up a PDF file of your manuscript, sometimes using stamps in Acrobat Reader.

Proofreading

So, what should you look for when you are choosing an editor to work with?

There are many, many people working as editors online. How do you avoid the scammers and unqualified to make sure you have a quality, professional editor? There are several ways:

Your editor will either have years of experience or professional qualifications or both.
They should have testimonials and reviews from previous clients.
If the books they've edited have been published, they should provide links so that you can read the reviews.
They should offer a sample edit of ~1000 words before starting to edit your manuscript. This can be a free or paid service, but it is crucial for both the writer and the editor—if the editor doesn't feel they can edit your manuscript for whatever reason, or if you don't like the editor's style, you can amicably part ways before any contracts or payments complicate your relationship.
You should be given a contract to review and sign. This is, again, just as much for you as it is for the editor. It will outline the exact scope of work you are expecting the editor to do, set a timeline for editing and payment, ensure confidentiality of your manuscript, and lay out terms and conditions of the work.
Watch out for editorial rates. The EFA provides a rate chart from surveys of its members, and these are widely considered either standard or the low end thereof. If an editor is charging far below these rates, they are either not a professional and are using AI, or they are, intentionally or not, undermining their editing colleagues.

You shouldn't be overcharged, but remember that quality editing is done by professionals who deserve to be paid a living wage for their expertise and service.