​The different levels of editing. Proofreading and beyond

Developmental editing, line editing, copyediting, proofreading ... what on earth is the difference and what's best for you when self-publishing?

This post featured in Joel Friedlander's Carnival of the Indies #79
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A potted guide to the different levels of editing ...
If you’re a beginner writer and you’re planning to self-publish, you’ll be thinking about getting your book fit for market. Some of you might not realize that there are different levels of editing. And even if you do, you might be fuzzy about what distinguishes each service or what it’s usually called.

No shame in that, believe me – even among professional publishers and independent editors the terminology differs. Consensus be damned! The irony that this lack of clarity and consistency exists in a profession that prides itself on, well, clarity and consistency isn’t lost on me or my colleagues!

​In an effort to untangle the issue, I’m offering you a PDF that provides an overview.

The basics
Think of the editorial process like a play with several acts: writing, drafting, sourcing feedback from beta readers, self-editing, developmental editing or manuscript evaluation, line editing, copyediting, proofreading, publishing. The elements in bold are what we’re focusing on today.
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In a nutshell
Basically, there are two levels of work going on – the macro and the micro.

• MACRO – this is where developmental editing (also sometimes called content editing, substantive editing or structural editing) and manuscript evaluations (sometimes known as manuscript reviews or editorial critiques) are to be found. It’s big-picture work that looks at the novel as a whole.
  
  Editors who specialize in this level of service focus on how your book works – stuff like structure, plot, flow, point of view, characterization and pace.
  
  
• MICRO – this is where line editing, copyediting and proofreading are to be found. It’s sentence-level work that looks at the text on a line-by-line and word-by-word basis.
  
  Editors who specialize in these levels of service ensure your readers don’t trip up. Standard grammar, spelling and punctuation are focal points, but at copyediting and line-editing levels, clarity and readability are in play, too. Basic proofreading is usually the final prepublication check to catch any snafus that have been missed during the previous rounds of extensive professional revision.

What terms should you use when sourcing editorial help?
There’s a question! My advice is that you explain what you want rather than worrying too much about what it’s called. This is because different editors define their services in different ways. So what should you do?

• Take a look at the PDF below to get a broad sense of which type of editing might be most relevant for you.
• Cross-reference that information with what you find on editors’ websites. If after that you’re still not sure what you need, prepare a couple of sample chapters that you can send with a request to quote. That way, your editors can advise you on what they think needs doing and whether they have the requisite skills.
• Think, too, about the rounds of professional editing your book’s already been through (or not). If you haven’t yet commissioned prior assistance, you’re unlikely to be ready for a final prepublication proofread. I’m not saying this to be difficult – I’m just telling you what I’ve learned in 27 years of working in this industry!
• Consider asking editors to carry out short sample edits. Some of us charge a nominal fee while others do it for free. Even if an editor asks you to pay a nominal fee, consider it an investment. Samples will give you valuable information – not so much about who’s the best but, rather, who’s the best fit. You might just love the way one editor clicks with your writing even though several others have also offered excellent work.
  
  

Key points to remember

• Focus on what needs doing rather than what it’s called. You’ll save yourself a world of pain!
• Choose someone who makes you feel excited about being edited.
• Choose someone who’s comfortable with the genre you’re writing in. Take a look at editors' and proofreaders’ portfolios to see whether they have experience of working with books like yours.
• Once you’ve chosen your editor, brief them as well as you can. If you want your crime writing sharp and lean, and you feel you might have overdone the purple prose, tell them so they know that tightening up will be well received. If your fantasy novel is packed with made-up words, prepare your editor so they don’t bore you with unwelcome queries!
• Being edited makes some writers feel nervous or embarrassed. My telling you not to worry probably won’t help a jot, but remember this: we’re on your side – always! We’re your advocates and every change we make, or suggest, is done for you and serves your interests. We’re not there to criticize your writing but to elevate it.
• Be realistic. If you only hire one round of professional editing, at whatever level, please don’t expect perfection. It’s simply not possible.

So, that’s it for now. I hope you’ve found this discussion of the different levels of editing useful. If there are particular questions that you want clarification on, drop me a line and I’ll do my best to answer them.

As promised, here’s your guide! Just click on the image to download it to your device.

Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with independent authors of commercial fiction, particularly crime, thriller and mystery writers.

She is an Advanced Professional Member of the Society for Editors and Proofreaders (SfEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.
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Visit her business website at Louise Harnby | Fiction Editor & Proofreader, say hello on Twitter at @LouiseHarnby, connect via Facebook and LinkedIn, and check out her books and courses.