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Editing/Revision: Let’s Count the Ways.
A few weeks ago, I received an email from another writer, asking if I would explain the different kinds of editing/revision. Since editing and revision are essential to the writing process and some writers struggle with the breakdown, I decided to write a blog post addressing the kinds of edits.
So, here’s the deal. If you are working with an editor or if you go to a business website that offers editing services, you’ll find four types of edits: substantive or developmental edit; copy edit; line edit; proofread.
Substantive/Developmental Edit: Global Revision
Substantive and developmental edits are different terms for the same process.
I prefer the term revision or global revision because I think it more clearly describes the process of re-seeing your manuscript as a whole and evaluating the entire project.
For example, scenes might need to be moved, expanded, condensed, or a character might need to be more fully developed. You might find gaps in the plot, or character inconsistency.
This kind of editing takes place when your draft is complete. It’s the most thorough or rigorous kind of editing. You look at your manuscript as whole to discover what can be improved.
Here’s my process:
- I put the manuscript aside for awhile–usually a few weeks. This gives me distance and a fresh perspective
- I print out a copy of the entire manuscript. I like working on a hard copy, and I can make notes as I read. Try to read it through in one or two settings.
- I consider story structure, organization, logical consistency, characterization, etc.
- I don’t stop and make changes; I’m looking at the whole project and don’t want to get sidetracked making edits.
- I make notes: cut this scene; needs transition; expand this scene; Jake is out of character; check for accuracy; needs conflict.
- My final step: I use the notes and make changes throughout the manuscript.
- I do another printout and read through–I go once more to make sure the manuscript is the way I want it.
When doing this kind of edit, here are a few of the things you might consider:
Plot
Plot is important because it is the framework of your story. If you write genre fiction, the plot is crucial. Plot at a basic level is beginning, middle, end. Know your genre, and know what is expected.
- The opening: Does the story open in the right place? Beginnings and ending are the hardest and most important. The opening of the story is what an agent sees to decide if he or she wants to see the entire manuscript. Does the plot move logically from beginning to end?
- Is there a first turning point (plot point one)? Does it send the story in a new direction?
- Does something big happen in the middle? A story builds and builds to a middle event, which usually is the beginning of things unraveling and getting worse.
- Is there a second plot point? An event that takes the story to its conclusion?
- Does the conclusion wrap things up and tie up loose ends? Okay, some people like postmodern endings. If that’s you, then leave the reader with something to chew on, but make sure that it’s something worth the effort. I’ve read some stories that go for a postmodern ending by doing something cute or confusing. That doesn’t work for me.
Character
If you have developed your characters before you wrote your story, this will be pretty easy. However, if you are a seat of the pants writer, and you’ve discovered character as you write, you will probably have to take a close look at each character. Here are some things to consider:
- Is your character consistent?
- If your character acts inconsistently, what’s the reason? Does it work? Is it logical?
- Do your characters have different points of view, political leanings, social backgrounds, different personalities?
- Do each of your characters speak differently? Or, do they all have the same voice? They shouldn’t all sound the same.
- Are the important characters fully developed?
- I like to know what each character in a scene wants. Knowing this builds conflict. Characters don’t necessarily state what they want, but their actions and words show and conflict develops.
Scenes
Scenes are the basic building blocks of storytelling. I like to start a scene with a problem, issues, or conflict and end a scene with some kind of decision. The decision will lead to the next scene and the next conflict.
For example, a fifteen-year-old girl discovers she is pregnant. She has internal conflict. She decides to tell her boyfriend; he wants her to have an abortion. She doesn’t want an abortion, so she talks it over with her parents, who aren’t supportive and kick her out. She gives them all the finger and sets out to make a life for herself and her unborn child. And on it goes until the end.
Things to consider:
- Does one scene flow naturally into another?
- Does each scene move the plot forward?
- Is there conflict in each scene?
- Are there scenes that should be cut? Shortened? Lengthened?
Other Things To Consider
- Is your point of view consistent? This is a big one. Don’t overlook it.
- Transitions: Are the transitions smooth and natural?
- Have I left anything out that I should add?
- Are there things that I’ve included that can be cut?
- Have I given things away too soon?
- Have I tied up all the loose ends.
- Am I telling when I should be showing?
- Am I showing when I should use a brief transition and tell?
- Are there awkward words, phrases?
- Are there subplots or conflicts that dead end?
- Is the action and pacing right? A cozy mystery has a much slower paced than a thriller.
- Is there repetition that needs to be cut?
This might sound overwhelming, but it’s not.
Once you start reading, these areas will pop out at you. For example, I’m a big advocate of strong female characters. I wrote a longish short story, and when I read through it, I realized there wasn’t one female character!! I immediately revised the story.
Also, like any skill, the more you edit the easier it will get.
A Short Tangent
Don’t underestimate the importance of a global revision (substantive/developmental edit). Even if you are the type of writer who revises as you write, it’s important to have a clear overview of your entire manuscript.
I’ve read some self-published books that were fair; a substantive edit could have made them great stories.
Back to the Topic
Once I’ve made my notes, I go over them and start editing. During this stage, sections of the story might be might be moved around, cut, rewritten, condensed, or expanded. I correct any problems that came up; for example: if I said on page 3 that the protagonist is 34, but in the middle of the book, I wrote that he was 24. I fix that. The biggest changes take place during a substantive edit.
If the substantive edit is expansive, I repeat the process. Remember, for me this process is revision; I revise until I get it right. However, don’t get caught up in endless revision. Some people spend years revising the same story.
Don’t do that. I hate to tell you this, but your story will never be perfect. At some point, send your child out into the world.
Copy Edit and Line Edit
I’m combining these, although some people won’t agree with doing this. I’m looking at this from an author’s point of view, and not from the point of view those who provide these services. If you are buying an editing service, these will often be different services.
After a substantive edit, your manuscript should be in good shape as far as logic, plot, characterization, structure, and language are concerned.
When you satisfied with your manuscript, then move on to copy/line editing. Let the manuscript sit–I usually wait two or three weeks. Work on something else, and come to the story with fresh eyes.
Because after a substantive edit my story is the way I want it, I go sentence by sentence looking for words/phrases I can cut. I aim to cut 10% of the words–cutting away the flab and tightening the prose. “The girl’s dress was blue, made with silk material, and a full skirt that fell to the floor. She sauntered into the room.” These two sentences would become “The girl in the full length, blue silk dress sauntered into the room.” Neither sentence is great, but I’m doing this quickly as an example.
Line editing is making sure I have the language perfect. I want clear, beautiful prose. This probably sounds like more work, but because so much editing has already taken place, this is usually a fast edit. At this point, I’m just getting the words right–something I enjoy. Some people do this at the end of a substantive edit and include it as part of the substantive edit. It’s preference.
Copy editing also includes formatting, correcting grammar, spelling, punctuation, repetition, word choice, style, and any other mistakes you might find.
Proofread
This is the final go through before you send your manuscript off to find a home. This is another line by line checking for mistakes: grammar, spelling, punctuation, formatting. This is the last go through.
I do my own substantive and copy/line editing, but I have two people who do the final proofreading for me. Some people do their own. At this point, it’s very difficult to catch my mistakes, especially since I know my manuscript so well. Often I read what I intended to write rather than what I wrote.
I need fresh eyes.
If you are self-publishing, I’d strongly suggest that you pay someone to copy edit and proofread. It’s money well spent for a professional manuscript.
If you are going the traditional route, and you’re sold your story. When it goes into production, you’ll receive the galleys—the publisher’s print-ready copy of your manuscript. This has usually been typed and is ready for your approval. It’s your responsibility to proofread for mistakes.
Yes, they are professionals, but even professionals aren’t perfect; typos happen; sometimes strange changes show up on galleys. I have a friend whose editor changed all her “said†tags to other words. She had to change them back to “said†and talk to the editor. Changes at this point are going to be small. Now isn’t the time to make major revisions. If you do, it will cost you out of pocket. Your manuscript is now in its final form. You are looking for and correcting typos.
Suggestions
I’d also suggest two books: Stephen King’s On Writing: A Memoir of The Craft and Elizabeth George’s Write Away: One Writer’s Approach to the Novel.
Both books are excellent and have different perspectives on the writing process. King writes horror by the seat of his pants (he doesn’t outline), and George writes mysteries and detailed outlines, but both have practical editing advice for writers of any genre. Every writer needs to find her way of working. We are all different.
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