When I tell people that I'm a freelance editor, it's quite common for people to assume that I spend my days just looking at spelling, punctuation, and grammar. I don't get this reaction from just the general public either. Many writers, especially new writers, also make this assumption. However, editing is so much more.

Editing falls into three main categories:

• developmental, which encompasses the rewriting process and critiques;
• copyediting, with the line-edits and of course famous punctuation-and-grammar concept;
• and proofreading, which occurs after a manuscript is typeset for publication, looking for any errors that were either missed or introduced during the typesetting process.

Each stage is necessary for the production of a publishable book.

The initial drafting of a story is a solitary practice. However, during the different editing phases, it's vital for every writer to seek out those extra sets of eyes to provide objective input. The who and the when will depend entirely on what stage your manuscript is at.

The stages of editing are the same for both traditional and self-publication, it's just the players that may change.

Editing Stage 1: Developmental Editing

Developmental editing is probably the most complicated phase of editing, yet, most writers will developmentally edit their manuscripts to some level instinctively. As we become more confident within our writing, as we get more feedback from others, we will make changes, rewrite sections and reshape our stories.

There are many different names given to various aspects of developmental editing.

Book Doctoring
Manuscript Assessments
Substantive Editing
Developmental Editing
Structural Editing
Line Editing
Extensive Editing

Buzz words go in and out of fashion as editors attempt to drum up more business. Editors who specialize in this phase of editing can't agree on terms. However, regardless of the name you give it, in essence, developmental editing is the act of rewriting and reshaping our manuscripts.

Developmental editing is likely the most important phase of editing, simply because a reader is more forgiving of the odd typo or grammatical error if the story is gripping and captures the imagination. If your story fails to deliver, for whatever reason, if the narrative throws the reader right out of the story at the wrong point, then your reader will focus on that typo and any other error they can find. For the sake of your stories, you need to developmentally edit your manuscripts.

The Scope of Developmental Editing

Trying to narrow down exactly what developmental editing looks at is difficult, because each manuscript requires different things. However, we can look at this as a series of questions.

• Whose perspective is the story told from? Is the point of view consistent? Do we suddenly jump into the head of another character with no warning (e.g., section break or new chapter)
• Is the character voice within the narrative consistent and appropriate for that character? What about within dialogue? Does that character use contractions or slang? Do they use too much slang? Is that character's voice unique (i.e., can you identify that character just from what is said)? Do you have multiple characters that sound the same? Is the dialogue (or narrative) natural or is it stilted? Can you actually say it? (Read aloud!)
• Do the characters behave in ways that one would expect given the situation? Have you provided a reason within the narrative for any odd behavior?
• Have you included enough of backstory for readers to understand what is going on? Have you included too much? Is your world-building/backstory peppered throughout your manuscript?
• Is there enough detail to create a picture of the settings and characters within a reader's mind? Have you delved into the realm of purple prose (i.e., overly ornate writing for no reason)?
• Does your action feel like it's dragging along? Do events happen so fast that readers could easily get lost or confused? Are actions following a natural progression?
• Have you ended your story in a satisfying way? Have you actually ended your story? What loose ends have been left open to the reader's imagination?
• Have you met the expectations of your genre? Have you written a suitable story (with suitable themes) for your target audience? If you were to publish your manuscript tomorrow, where would it be placed in the book stores? (You need to know your genre!)

I haven't even delved into the concepts of show vs tell, depth of perception, or first-person vs third-person narratives.

Hopefully, you can see that developmental editing covers so many different aspects that a comprehensive description doesn't easily fit into a space less than 500 words.

(Hint: Almost every book on writing focuses on some aspect of developmental editing.)

Early Writing and Critiquing Partnerships

When writing and editing those early drafts, a critiquing partner can be invaluable, pointing out glaring plot holes that you may have missed. They can be other writers, or a technical adviser who is an expert in a given field. You can find the writing-type critique partner through writing groups, Facebook, or even writing contests. Many critiquing sites have noticeboards filled with people looking for critiquing partners, including Scribophile and Critique Circle. On Twitter, #CPMatch could be the way you find your perfect partner.

The types of critique that one obtains vary greatly, ranging from a full assessment of language and plot, through to characters, and general likes and dislikes. It depends entirely on the level and skill of the critiquer. Critiques are often on partial drafts, and can be at any stage of the writing. You can hire a professional editor to provide a critique, often at a discounted rate, or have a fellow writer provide feedback. You might even send your manuscript to a technical adviser on a given topic, to ensure that your manuscript is accurate and the plot ideas that you had are actually feasible. (Was the poison in my story deadly enough? Can the plane that I used really make that maneuver? Is that really how someone would have wielded a sword?)

Building a good critiquing relationship with other writers can do wonders for your own writing. Not only will you get feedback from objective eyes, but you can see how others go about the editing process. Even those with little-to-no experience in providing critiques can still provide valuable insight into what is not working in a given passage.

Working with a Developmental Editor

The feedback obtained from a developmental editor should provide an in-depth look at your manuscript, even if it's from the broad overview. I know this sounds contradictory, but a developmental editor should have industry knowledge about the various tropes and devices used within the story. This alone means that they will be able to quickly identify problematic areas of your manuscript.

Developmental editors should provide commentary on the overall plot and the nuances associated with individual subplots, in addition to character, pace and narrative voice. They will aim to find answers to all of the questions listed above—and some.

Many developmental editors will also offer substantive editing (also known as line editing), which examines a manuscript at a sentence and paragraph level, inspecting language, structure and clarity. This is normally in addition to the big picture view discussed above.

Do keep in mind that any editor who advertises only copyediting services is not a developmental editor. The two types of editing require a different eye.

Editing Stage 2: Copyediting

copyeditor n : an editor who prepares copy for the typesetter. (Merriam-Webster)

During the copyediting phase, you will delve into the realm of what most people understand as editing; however, it is more than just punctuation and grammar.

• Are there any sentences that are confusing?
• Are you using the right words for the given context?
• Can narrative construction be tightened?
• Are you consistent within your descriptions?

Again, this is a gross oversimplification of what copyediting really is.

Beta Readers

It is during the copyediting phase that you will use beta readers.

When you have edited your manuscript to death, and worked out all the plot and language kinks, new eyes become vital. That is the stage when you put your feelers out in every direction and ask if anyone is willing to read your manuscript and provide you with feedback. Beta readers can be other writers, avid readers, or even your family and friends.

At this stage of editing, all you want is the reader's perspective about your story. You want the answer to the question: did they like it and would they buy it if the opportunity presented itself?

For those on the traditional publication road, it is common for the query process to begin while beta readers are still reading your manuscript. Just ensure that you're not querying with a manuscript that is still raw, requiring significant changes.

Working with a Copyeditor

When working with a copyeditor, be prepared to work. You will be expected to make the changes yourself, and not all suggestions are actually appropriate for your manuscript. A copyeditor won't examine any developmental issues; however, if they spot a developmental issue, they should bring it to your attention.

The copyeditor is examining the manuscript from a sentence and paragraph level. The idea is to ensure that the language used is accurate and consistent throughout the manuscript and that the prose flows.

This is why in image above, there is a two-way arrow between developmental editing and copyediting. Sometimes, the feedback from beta readers or a copyeditor will force you to reexamine your developmental treatment about something. This could send you back into the developmental editing phase.

For those on the traditional publishing road, the copyeditor should be contracted by the publishing house.

Editing Stage 3: Proofreading

proofread vt : to read and mark corrections in something, such as a proof. (Merriam-Webster)

The term proofreading is often incorrectly applied to copyediting. Proofreading is the examination of a proof (a document that has been typeset). Hence, you can not proofread a manuscript until AFTER it has been formatted for distribution. This includes eBook formats.

The job of a proofreader is to check for any missed punctuation and grammatical errors, in addition to identifying any odd typesetting issues. The proofreader is hired by the publisher (whether that is a publishing house or yourself) and is the last chance to catch anything before your story goes public.

Perhaps it's just me, but how can a proofreader spot typesetting issues prior to the document being typeset?

It's surprising the number of writers who hire a proofreader prior to hiring a copyeditor. This idea actually makes many editors scratch our heads, yet, we see it all the time.

When you have hired a copyeditor, expect your story to change, even if only slightly. Whole sentences will change and be reworked. New paragraphs may sprout up from the copyeditor's feedback. As mentioned above, sometimes you need to go back into the developmental editing phase after you've received comments from a copyeditor.

Any significant change in your manuscript will make any work that a proofreader has done redundant.

Please, for the sake of your finances and your sanity, leave proofreading to the final stage, before you send that novel out the door.