FREQUENTLY ASKED QUESTIONS
I am confused by the terminology and different titles. Is an editor not just an editor?
There are probably as many definitions of an editor’s role as there are editors and it can be difficult to clarify what exactly each editor does. That is one reason why it’s important for you as the author to get clarification from your editor and agree upon the parameters of your edit in advance. Broadly speaking, however, there are three main categories: proofreader, copy editor, and developmental editor.
A proofreader will check for errors in the final draft of the manuscript just prior to publication. A copy editor – sometimes called a line editor – works with the manuscript at sentence level, specifically addressing prose style and grammar, ironing out any clunky sentences and making sure the writing flows. A developmental editor – sometimes referred to a substantive editor – will work with an author before a copy editor or proofreader. A developmental editor will focus on big-picture, structural matters and will look for possible solutions. They will usually tailor their assessment based on the specific needs and goals of each author and project.
Ok. That sounds interesting. Tell me more about what a developmental editor does in detail.
A developmental editor uses writing craft theory to analyze a manuscript and provide feedback on how authors can enhance and improve their work to create more engaging and compelling stories. They will not look at grammar, punctuation, spelling.
A developmental editor will usually evaluate some, or all, of the following categories:
GENRE: the classification of literature based upon shared characteristics, conventions and expectations. Genres help readers and publishers categorize, market, and understand the content and style of literary works.
PREMISE: the concept or idea behind the story plus the action or stakes involved in the plot.
STRUCTURE: encompasses story, plot, structure and pacing/narrative arc, and subplots
· Story is made up of connected events with a beginning, middle and end.
· Plot is the ordering of the events in the story.
· Structure is how the plot is organized through chapters, scenes, sections etc. and how it relates to the rise and fall of the narrative arc.
· Subplots should be relevant and well-integrated with the main storyline.
NARRATIVE POINT OF VIEW: the point of view from which events are observed and narrated (told to the reader) – first-, second-, or third-person – in time (tense) and space (viewpoint)
STYLE AND VOICE: authorial choices in language and tone that make the writing distinct.
CHARACTERS: how character arcs are developed throughout the story, including consistency in actions and motivations and interaction between characters.
DIALOGUE: how characters verbally communicate with each other
WORLD BUILDING: the effectiveness of descriptions in creating a vivid and immersive setting and ensuring there is consistency and believability.
THEME: universal and generally abstract concept that provides insight into the human conditions. Can unify and connect diverse elements of a story including plot, character, setting and symbolism.
REPRESENTATION: potentially problematic tropes or othering of characters and place.
Can I edit my own work?
You can and should always edit your own work. This is part of the writing process. However, an editor can provide a valuable fresh perspective.
Why does a fresh perspective matter?
When we write we can often become deeply involved with our material – the world and the characters we are bringing to life, the experiences they have and so on. The material is so familiar to us that the story makes sense to us and when we revise and edit, we see what we want to see or what we think we see, not necessarily what is on the page. In a way, it’s a variation on the Mandela effect. We might, for example, become emotionally attached to a character, or a passage, that no longer serves the story or we might over complicate our sentences or, we might encounter problems with plot and pacing. This is all very normal. Some of this we can catch when we edit our own manuscripts, but an editor can bring a fresh, objective perspective which can enhance the work of even the most skilled author. In my own writing, I have benefitted enormously from a good editor, and in turn I have also enjoyed editing some truly amazing writers.
Many editors value the concept of a fresh perspective so highly that even if they offer both developmental editing and copyediting services, they will decline to conduct both services for the same manuscript. Instead, they will often recommend that you hire different professionals for each of these stages. This is because during the process of developmental editing a manuscript, the editor will often become too familiar with the manuscript to be an effective copyeditor. This speaks to how valuable a fresh outlook can be at every stage of novel writing.
I’m convinced. However, I’m worried about the cost of hiring all these editors. What should I do?
Most of us write because we are driven by creative, imaginative energy. Unfortunately, however, publishing is a competitive business and it’s hard to stand out. A good developmental editor can help your manuscript stand out, whether you want to self-publish or publish with a traditional publisher. Start with contacting a developmental editor you think is a good fit for you and your manuscript and take it from there.
How much does developmental editing cost?
Our rates start at $0.01 per word, but project rates can vary. At NOVEL ADVENTURE EDITORIAL, we believe that flexibility is important in responding to the individual needs of each manuscript and every author. We provide a free no-obligation initial consultation and recommend a sample edit. Based on this initial consultation and sample edit, we provide a quote for the project fee. We find this is the best way to tailor the depth of the edit to the needs of the manuscript and your wishes as the author.
What is involved in your initial consultation?
As part of our initial consultation, we will ask you to fill out an author questionnaire. This helps us to get to know more about you, your manuscript, and your writing and publishing goals, so that we can better tailor our services to your needs. We will also ask you to submit a short writing sample so that we can perform a sample edit. This sample edit helps us to determine in more detail what the manuscript needs and helps you to determine if we are the right editing service for you.
Do I need to be a feminist or to know about literary theory to engage your services?
No and no. If you are interested in learning more about the intersection of feminism and how your work can benefit from it, then one of our Feminist Alchemy packages might be for you. If you’re not, then opting for a Nurturing Narrative package might be more suitable for your needs. Sorcha has over ten years of teaching experience, from introductory to advanced postgraduate levels. She has become adept at making what might first appear to be a complex concept more accessible and will tailor your feedback appropriately.
Which genres do you work with?
We value popular fiction as much as literary fiction and we can work flexibly across genres. As an academic, Sorcha researched and taught popular fiction and literary fiction in both long and short form. She has extensive experience with popular and literary fiction in a range of genres including romance, mystery, science fiction, fantasy, dystopian, gothic, magical realism, historical, bildungsroman and picaresque, children’s and YA literature.
What spelling system do you use?
Across the website we use British spelling, for example “colour” instead of “color,” however, we use the suffix -ize instead of -ise. This is the standard used by academic publishers, Routledge and Palgrave. We will edit your manuscript using your preferred system and style guide.
Your homepage mentions online courses coming soon. Do you have more details?
We are currently working on online courses for writers because we recognize that time and energy are precious resources, and we understand the challenges of balancing work, family, and creative aspirations. Our courses aim to help you expand your writer’s toolkit at your own pace and are designed to fit into your busy life, offering flexibility without overwhelm. Our goal is to anticipate your needs as an author and set your writing free so that you can realize your vision on the page.
Contact us here if you have more questions or find out more. We’re happy to help.