The Editorial Space

What is the difference between a line edit and a copyedit? A developmental edit or a manuscript critique? A macro or a micro edit?

When I first looked into editing as a career choice, I have to admit I was pretty shocked: the lingo and definitions out there were far from clear, especially for an industry that prides itself on lots of “c’s” (clarity, consistency, conciseness).

Whether you decide to self-publish or follow the traditional publishing route, it is safe to say that an understanding of the different levels of editing can help manage both your budget, and timeframe much more effectively.

As many editors define their services differently there are certain overlaps that can occur, so pay close attention to what’s on offer. It is the job of the editor to explain the service they provide clearly enough that an author, new to the world of editing, can make an informed decision on what services they require.

What’s the difference between micro and macro editing?

In fiction, macro editing encompasses developmental editing and manuscript critique. This is the birds-eye view of things, looking at big picture components: plot, structure, theme, characterisation, pacing, etc., observing how they function and work together within the manuscript.

It goes without saying that these services should always take place before you begin with any of the micro services. Making major manuscript changes further down the line is something to be avoided: it is both harder and adds extra, unnecessary costs.

Micro editing encompasses line editing, copyediting and proofreading. These are sentence level editing services that put each and every word, letter and punctuation mark under the microscope. Checking for things like spelling, punctuation, grammar and syntax.

Let’s delve into a bit more detail.

Level 1. Developmental editing: building the foundations (aka substantive or structural editing)

The goal of this first stage of editing is to make sure all the foundations of your manuscript are well-built, can stand up to the weight of the readers expectations and they can deliver your intentions effectively.

The editor will look for things like plot holes or inconsistencies in your worldbuilding, perhaps making suggestions that can help to avoid having an unclear narrative question or indistinguishable characters.

A developmental editor helps you avoid any potential issues that would prevent your reader from staying completely immersed in your story.

Here are just some of the things that I consider when conducting a development edit:

• Is the content suitable for the genre?
• Is the premise compelling enough for a complete novel?
• What is the theme, and is it something a reader can connect with?
• Does the opening capture the reader’s attention enough to warrant spending their time with your novel?
• Does the resolution provide enough satisfaction for the reader?
• Are all the scenes moving the story forward? Do they have a clear beginning, middle and end?
• Is the point of view the most effective one for the story? Is it consistent?
• Are the characters consistent, unique and believable? Are the character arcs fulfilling for the reader?
• Is the antagonist well-developed? 
• Is dialogue used effectively?

Feedback for a full developmental edit is usually provided as an editorial report (or letter) – a document detailing the strengths and areas for improvement of the manuscript, alongside notes and edits in the manuscript.

Alternative option: manuscript critique (aka manuscript appraisal or evaluation).

This, more budget friendly service, considers all the same things a developmental edit does, but, here’s the difference: most editors will provide only an editorial report, with little or no edits within the actual manuscript.

For some writers, who have a good knowledge of the writing craft or simply want a less in-depth edit, this may be a preferable option. It’s also a good starting place for those who are new to the world of editing and are nervous or apprehensive about a full developmental edit.

One of the most important things to remember is that your developmental editor should always make suggestions. I will always tell my clients that it is entirely up to them to take what they need from a developmental edit or manuscript critique and use what they feel is beneficial for their manuscript and their writing, everything else can be thrown to the wind!

Looking for an editor to provide you with a non-judgemental manuscript critique?

Level 2. Line editing: making your words sing (aka stylistic editing)

This second level aims to improve the style and smooth the flow of your writing at sentence level.

It happens when the foundations have been well-laid out. Line editors aim to improve the readability of the manuscript and enhance the writing, without losing the author’s voice.

Line editing looks at issues with: 

• Pacing
• Flow
• Sentence structure
• Use of passive voice
• Word choice
• Impact and strength of the dialogue
• Clarity.

Here are where possible overlaps can occur – some line editors may fix grammar, spelling and punctuations issues at this point – others do not, instead focusing only on the style of the text. Other editors may offer a two in one complete service.

Level 3. Copyediting: attention to all the details

When most people think of editing, this third, more technical level is usually close to what they imagine.

It is an intensive look at the “correctness” of the text, a chance to fix inconsistencies and any errors in areas such as:

• Spelling, grammar, punctuation
• Syntax
• Word usage 
• Hyphenation style
• Capitalisation style
• Repetition
• Clichés
• Appropriate word choice for your intended reader
• How numbers are written.

Copyeditors will usually record the editorial choices in what’s known as a style sheet to be sent on to the author and proofreader.

Level 4. Proofreading or proof-editing: the final polish

This stage is your last defence to remove any errors that have slipped in before your work goes to print or screen. And why might you need both a copyedit and a proofread I hear you ask?

As the copyeditor has looked at so many different aspects of the manuscript, it is inevitable that some errors slip through. The proofreader is there to catch them.

They perform a final quality control to remove any distractions that might present themselves to your reader. 

Proofreading looks at things such as:

• Spelling, punctuation and grammar
• Typos 
• Capitalisation
• Formatting (paragraph spacing, indention, chapter drops)
• Clarity
• Consistency
• Page numbers
• Headers and footers.

In self-publishing proofreading may turn into what’s known as proof-editing. This is a sort of cross between proofreading and copyediting, meaning that proofreaders are not necessarily working on the final draft and can be working outside the scope of the defined definition of proofreading.

Looking for a proofreader to help tidy your manuscript? I offer free sample edits so you can see if you like what I do.

So what kind of editing do you need?

If you’re still unsure which type of editing you might need, you are not alone. Have a look in some editing directories that guarantee editors who have received professional training. The Publishing Training Centre and The Chartered Institute of Editing and Proofreading are two great examples.

Use these directories to reach out to editors who will be happy to discuss your project and offer advice on what you might need. And many of them will offer sample edits, so that you can have an idea of their work before hiring them.

Find out more about the types of editing services I provide.