Developmental editing the Creative Roots way
Image credit: Jessica Hiemstra
Ever wonder what it is like to get your historical fiction novel edited? This is an intimate look at my own developmental editing process. A manuscript critique is much the same without the details notes on the manuscript itself. My hope is that you will see the developmental edit as a stepping stone in your writing journey. The kind that boosts you up in both writing skill and mindset.
The process I describe here is something I have created after taking developmental editing courses from a number of different teachers and adapted to fit my own working style. This is by no means the right way, just my way. Other editors may work differently. I am also constantly refining the process or tweaking it to fit each project.
Step one is a sample edit and/or discovery call
When a writer first reaches out to me, the first thing I want to do is make sure we are a good fit. I will often suggest we have a chat or do a sample edit. Usually, it’s best to do both. When I do a sample edit, I will read the first and last chapters, or the beginning and end of a document and take a peek at a few other random spots to see what the writing is like throughout. I will select about 2000 words and give feedback in the margins using Microsoft Word’s comment function.
The feedback will be slightly different than if I was doing the full edit because as I hope to demonstrate with this peek behind the scenes, a full developmental edit looks at big picture issues that may not show up in a small sample. My goals is to offer a sense of the kind feedback that I will provide.
Getting set-up for an edit
When I send back the sample edit I include a quote for the project and a proposed timeline. Once we both agree to move forward I will send out a simple service contract so we are on the same page and an invoice for a deposit (after doing a secret happy dance around my desk). I also send off a questionnaire to make sure I fully understand the goals for the book, what the story is about, and what the writer wants to get out of the editing process.
When the start date arrives, I am eagerly waiting to dive into the manuscript. The first thing I do is set up some file management. I make a working copy and leave an original copy to refer to just in case. Even though I generally only use the comment function at development stage, I do sometimes adjust the formatting to make it easier on my eyes. I will adjust the font, line spacing, set up proper chapter headings for easier navigation, etc. All of which are easy to reverse if the author needs to. Then comes the fun part!
First read-through
I will do a first read-through without making any editorial suggestions. I try to complete this within a short timespan. A few days of morning reading is best. I make notes to myself, usually in another document or in a good old-fashioned notebook with my favourite purple pen. I’m looking for anything that jumps out as particularly good, problematic, or confusing. I will often make notes on anything I see that could be an issue depending on what else happens in the story. Often times, these take the form of questions. I also make note of how different parts made me feel. For example, was I curious, bored, or gripping the edge of my seat!
I usually make myself a little summary or map as I go. I make a list of characters and some details about them, especially if there are quite a few of them. For each chapter or scene, depending on how the book is structured, I make note of the main action, maybe the POV character, and sometimes other details like setting or time.
Taking my time with this first step ensures I really get to the know story, the characters, and what the writer is trying to accomplish. At this point, I usually have a pretty good idea of the main issues that need to be addressed.
The editorial plan
When possible, I will step away from the work for a day or so to give my brain some time to digest. I will review the questionnaire and start to formulate a plan. I may go back and review a few sections to clarify something. I will consult my master checklist of developmental issues and consider which ones might be present in the manuscript. I may go in search of resources to support the recommendations I plan to share with the author. I create a rough draft of the editorial letter. Once I am sure I have nailed the main concerns, I start thinking through some options for addressing them. My best ideas often come while out for a hike, mulling over the puzzle of story, plot, character, so I try to plan a good long one for this stage as ideas pop up at random times. The notes app on my phone gets heavy use during this phase. The editorial plan is both my plan for tacking the edit and my summary of the main issues to address. By this point, I am usually pretty excited to go deep into the story, looking for ways to strengthen it and communicate them to the author.
The edit and the letter
Now, I finally get to the feedback part. This is where I go through the manuscript again with a fine-toothed comb. It’s also where I particularly love using multiple monitors. One one monitor has the manuscript that I am editing and the other has the editorial letter that I am drafting. If I took notes electronically, I will split one of the screens to have those open as well.
Often, I will start a draft of the editorial letter by highlighting what I like best about the story. I also identify the issues that will have the biggest impact if they are addressed. Then, in the manuscript, I start back at the beginning and leave margin comments pointing out examples of where the writing is working well, (and most importantly why), or where it can be improved (and very importantly, both why and how). This is the most time-consuming part as I try to make sure the letter and the margin comments will work together to create useful guidance for improving the manuscript. I will go deeper into the issues, how they are linked, and how to address them. The margin comments support the letter by showing you where exactly the issues are showing up and where improvements can be made. This is especially helpful for showing repetition of a problem, or when a problem occurs sometimes but not others. It can also help identify when text should be shifted around for better pacing.
Just like writing, this phase of the editing process can be a bit circular as I try to work through the various layers of story, character, and plot. Most of the time, issues are inextricably linked and so addressing one issue, may also fix another issue.
I prefer to focus on giving a handful of key issues to address that will have the biggest impact on the story. Addressing too many issues at once can get overwhelming and confusing. I usually also include a few smaller changes that will improve the story at the line level or in some other stylistic way that may not be integral to the big picture. These are nice because they are often easy to check off a list when you want to make a little progress without diving in too deep.
One thing I do not do at this point is include very much in the way of grammatical errors. I do point out consistency issues because I happen to have a knack for it and they are so easy to miss. Too much sentence-level feedback is overwhelming at this point, especially if large sections will be rewritten.
Developmental editors are meant to be catalysts for your own ideas
I just want to take a pause here and briefly talk about the importance of including the why and how in feedback. When you are paying for an edit, you should end up with a clear idea for how to fix the problems in the manuscript, not just be aware of their existence. I don’t mean that I provide a prescriptive list of must-do changes. What I do offer is an explanation of why and how a change will improve the manuscript and a few suggestions for how that can be accomplished. I particularly love when a client reads my feedback and comes up with an entirely new and elegant solution that hadn’t occurred to me. That synergy is the magic of working with someone else in your writing.
Sharing the feedback and a follow-up call
Once I have completed the edit and written the editorial letter, I will do what I suggest all writers do. I set it aside for a day or two before going back to make sure everything is clear and consistent. I will send the edited manuscript and editorial letter back to the author with my fingers-crossed that it is equally helpful and motivating. Depending on the terms we agreed to this is when I send the final invoice.
I always suggest taking time between reading the feedback and starting to work on revisions. I offer a follow-up call or email for authors who want more clarity on the edits or who want to run their ideas for revision by me before diving in too far.
The personal side of editing
Developmental editing is a deeply creative process, much like the writing process. I get some of my best insights when I put down the pen, step away from the keyboard and head out for a walk. When I take on a manuscript for editing, I become invested in the story, the characters, and the writer. For me, sending back an edited manuscript is a bit like sending off a child to school. You have to let go of what happens next and wait for the delight that comes months or years later as it grows into its own.
