The fiction proofreading and line-editing process

​This outline of the proofreading, copyediting and line-editing process is one way of organizing your editorial workflow rather than bowling straight into a project.

​What follows is my process – the steps I take and the order in which I take them. That doesn’t mean it’s THE process! You might prefer to organize yourself differently.
​

Editorial business parameters

My business model might look very different to yours. Here’s what you need to know about me when considering the process I outline below.
​

• I work on raw-text files in Microsoft Word.
• I work directly with crime fiction, thriller and mystery writers. I might be the only editorial person the author’s worked with.
• I work only on fiction so my editing projects are straight text.
• Most of my projects require line editing rather than proofreading.
• Even when hired to proofread, I tend to work on raw-text files rather than designed PDF or hardcopy page proofs.
• Unless otherwise agreed (and billed for), a project involves a single pass.
  ​

Proofreading designed page proofs 

I no longer work on designed page proofs (PDF or hardcopy), but at the point in my career when I did, I used the checklist below.

THE PROOFREADING CHECKLIST

​My preference is to carry out each check discretely so that I can focus on the specific task in hand rather than trying to spot different kinds of errors at the same time. 

A free copy is available when you sign up to The Editorial Letter.

TAKE ME TO THE CHECKLIST

​Step 1. Project legalities

I carry out the project legalities as soon as the author and I have agreed to work together and decided on the project's time frame.
​
This part of the process protects me and my client, and ensures we have a mutual understanding of the project’s terms and conditions.

WHAT I DO

• Ask the client to complete the booking form and agree to the terms and conditions
• Issue an invoice for the deposit
• Ask the client to fill in an Author Preferences form
• Check the signed contract is in order
• Add the project details to my schedule

SHOW ME THE FORM

SHOW ME A SCHEDULE TEMPLATE

Step 2. File checking and organization

This work takes place as soon as the book file arrives. The checks ensure I can find the material, and that it’s usable when it’s time for the edit to begin.

WHAT I DO

• Create a project folder
• Check the book file can be opened and is readable
• Check the page count to confirm that all the content is available
• Save a copy of the project file with a unique name, eg Smith-LH-Edit-020421-v1
• Place the original and the copy in the project folder

Step 3. Template creation

This part of the process helps me get organized. I do it before the edit begins.

WHAT I DO

• Customize my style-sheet template and assign a unique name
  (eg Smith-LH-style-020421-v1)
• Customize my report template and assign a unique name
  ​(eg Smith-LH-report-020421-v1)
• Save the templates to the project folder

Step 4. Technical setup

Next up is some technical setup related to Microsoft Word.

WHAT I DO

• Open the book file and make sure Track Changes is switched on
• Check that the VisibleTrackOff macro is functioning. This ensures I never forget I’ve switched off Track Changes temporarily
• Open Word’s Set Proofing Language function to ensure it’s recognizing the appropriate version of English
• Uncheck the ‘Do not check spelling or grammar’ box

Step 5. Styles

Now it’s time to assess the book file’s styling. Even though an interior formatter might work on the design at a later stage, I want to ensure that the different elements are formatted consistently.
​
Word’s styles palette is the tool of choice. If I decide to make changes, I can amend the style rather than trawling through the entire book file line by line.

STYLES I TYPICALLY SET UP

• Title
• Author
• Chapter headings
• Subheadings
• Full-out first lines
• Indented paragraphs
• Section breaks
• Other elements (eg texts, letters, diary entries)

TAKE ME TO THE FREE WEBINAR

If I’m line editing, the author might have done some or all of this work. If I’m proofreading, another editor might have done it.

After I’ve set up the styles, I apply them to the book file.
​ 

Step 6. Chapter sequence check

Now that my chapter headings are styled, I can locate them in Word’s navigation pane and ensure the numbering is correct.
​
It’s not uncommon for authors to shift chapters around, and that’s where problems slip in.

WHAT I CHECK

• That the chapters are sequenced correctly
• That there are no chapters with the same number
• That there are no missing chapter numbers
• That the headings, subheadings and first-paragraph indents are styled properly

Step 7. Front-matter check

I like to cast my eye over the front matter separately from the main edit. 
​
The most exciting part of the project for me is the edit itself, so doing mundane but critical technical checks separately ensures my eye’s on the ball and I'm not making assumptions.

WHAT I TYPICALLY CHECK

• ISBN filled in (if available)
• Author name correct
• Title correct
• Publication date correct (if available)
• Copyright

Step 8. Macro run and style-sheet build

Next, I run a selection of pre-edit macros.
​
Editors use all sorts of different software and tools to complement their eye depending on the issues they need to check, the material they’re working on, and their clients’ needs.

The macros I've listed below are not what you must use; they’re just my preferences.

MACROS I TYPICALLY RUN

• PerfectIt (Intelligent Editing)
• PropernounAlyse (Paul Beverley)
• CompareWordList (Allen Wyatt)
• GetSpellingErrors

SHOW ME MACRO RESOURCES

I use what I learn to start filling in the project’s style sheet.
​
At this stage I’m making early decisions about spelling, hyphenation, capitalization and proper noun usage, and noting any red flags.

RED FLAGS INCLUDE

• Inconsistent character names
• Characters with similar or the same names
• Inconsistent spelling of place names
• Language that’s prejudicial or misrepresentational

Even if I locate problematic language, I’ll not make any decisions about what needs to be done until the contextual edit begins and I can review it within the wider story arc. At this point, I'll just highlight.

I’ll also record initial observations that are key to the line edit.

INITIAL OBSERVATIONS

• Narration style (e.g. first or third person)
• The novel’s base tense (eg past, present)
• The author’s preferences (expressed via the Author Preferences form or email)

Step 9. The edit

Now it’s time to begin editing. This is the fun bit, what I've been hired for! It's the non-technical part of the job but the most time-consuming.

I work through the book file line by line and edit according to the agreed scope of the project.

WHAT I DO

• Directly edit the text
• Type comments in the margin with indicators to relevant sections in the report
• Add information to the style sheet
• Add examples from the book file to the report where appropriate

Step 10. The part-way PerfectIt check

One third of the way through the line edit, I run PerfectIt again.

That’s because I’ll have made many new style choices that affect, for example, spelling, capitalization and hyphenation, ones that I didn’t pick up during my pre-edit macro run.

BENEFITS

• A part-way PerfectIt check does the heavy lifting, allowing me to locate additional inconsistencies quickly.
• The more mundane technical work the software does, the fewer distractions for me while I’m editing for sense and sensibility.

Step 11. The technical tidy-up

When the edit is complete, I carry out another round of checks for layout, consistency, spelling and grammar – a final technical tidy-up to that ensures everything’s spit spot. A little Mary Poppins never hurt anyone!

WHAT I DO

• Run PerfectIt again
• Run Word’s Editor and review its grammar and spelling suggestions
• Remove any unnecessary highlighting
• Review my comments for clarity
• Double check for rogue double spaces, and spaces at the beginning and end of paragraphs using Find/Replace

Step 12. Style sheet check

Next, I review the style sheet to ensure that it’s fit for purpose.

WHAT I DO

• Check that my notes make sense
• Remove spelling and grammatical errors
• Remove highlighting

SHOW ME A TEMPLATE

Step 13. Create the editorial report

​Now I create my editorial report. I use a detailed template that’s already populated with client-friendly summaries of the theory behind the edits (accessible via my course How to Write the Perfect Fiction Editorial Report).

WHAT THE REPORT INCLUDES

• An introduction that outlines the content
• Any red flags I need to alert the author to
• A narrative analysis (explanation, evaluation, and guidance)
• An analysis of the dialogue (explanation, evaluation, and guidance)
• A layout review
• A summary

Step 14. Delivery and invoicing

Finally, I prepare the files for my client. It's time to show them what I've done and why I've done it!

WHAT I INCLUDE

• The edited book file with all tracked changes and comments
• The edited book file with all changes accepted but comments still showing
• The edited book file with all tracked changes accepted and comments removed
• A PDF of the style sheet
• A PDF of the editorial report

After I’ve emailed the files, I issue an invoice for the outstanding fee. Some editors choose to send the files only after all monies have been paid. How you do it is for you to decide.
​ 

Wrapping up

So that's my way. I hope it'll help you streamline your process if you're unsure where to start.

Just bear this in mind: There's no one best way. We all work differently, and there are multiple ways to edit efficiently and productively.

Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with crime, mystery, suspense and thriller writers.

She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.

FIND OUT MORE
> Get in touch: Louise Harnby | Fiction Editor & Proofreader
> Connect: Twitter at @LouiseHarnby, Facebook and LinkedIn
> Learn: Books and courses
> ​Discover: Resources for authors and editors