The editing process

We’ve probably all heard the cliché: everyone has a book in them.

And if you can manage to get that book out of you and onto the screen or page, that is seriously impressive. Most don’t.

However, “impressive” isn’t the same as “ready to be published”. The words are on the outside now and if you want them to be read and enjoyed and valued – if you want your book to have any kind of impact – it’s time to think about editing…

Most authors with a book in print (that includes ‘e-print’!) will insist you need an editor. But what exactly does that editor do? What stages are involved? What can you expect from them?

I edit business books – typically written by freelancers or small business owners who have a niche expertise and want to self-publish  that expertise in book form. Their book might be an extra to their regular services (coaching, consultancy, etc.), it is an additional product that they sell (ooh, passive income!), and it establishes them as an authority with a wider audience. I provide advice, feedback, and corrections to get their initial manuscript into shape ready to be printed, and I’m going to talk you through the three stages of my editorial process as an example of what you can expect from an editor.

But first, let’s quickly define what the different types of editing are…

What is editing?

“Editing” is a blanket term. In fact, your manuscript needs reviewing in a number of different ways, and each requires a different editorial focus. that covers several different activities.

• Developmental editing – This is the big picture stuff. Do your arguments make sense? Do they hang together logically? Are your ideas consistent? Developmental editing is about structure and organisation.
• Content editing – Now we’re digging into the actual words on the page rather than the overall structure. The text must flow – paragraph by paragraph, chapter by chapter. Here, we’re looking for gaps (what’s missing?), inconsistencies (what doesn’t fit?), and waffle (what’s unnecessary?) Content editing is also about your authorial voice, your tone: does it appeal to your audience, and does it sound like you?
• Line editing – And now we’re into the details. Line by line, sentence by sentence, this is about word choice and expression – is your text delivering your message clearly… and does it sound like you? This kind of editing is about ensuring your words communicate effectively, efficiently and representatively? Here, we’re looking at the impact on a phrase by phrase level.
• Copy editing – Also called proofreading, this is about spelling, punctuation, and grammar – ensuring that there are no embarrassing errors or humorous/confusing misspellings.

As you can see, there’s an increasingly tight focus on the text, from broad ideas and messages right down to placement of commas and apostrophes.

As I said earlier, I use a three-stage process to collaborate with the author to get their book print-ready and that process includes all of the above editing types, depending on the client’s individual needs.

Three stages – and editing process

The following three stages means that I read through the entire manuscript three times; each time with a different focus that picks up on different aspects of the text. This approach also gives three opportunities to pick up on any issues, which reduces the chances of human error.

• Big picture – This is the developmental and content editing, focused on ideas, flow and logic. I might suggest cutting down certain sections, or adding new ones. Maybe a certain chapter is absolutely spot on but comes too late in the book for the reader. Maybe some content would be better taken out of the main text and placed in an appendix. I also highlight (usually with comments in the margins) any gaps, unsupported statements or unfocused sections (waffle?)

The result is a series of detailed comments and suggestions for the client to consider.

The client then actions the feedback (or not) making changes and additions. At this point, they might also send out the manuscript to selected beta readers, asking for feedback. If so, this feedback is also considered and actioned before sending the manuscript back to me for round #2…

• Into the detail – Now we can focus on line and copy editing, diving into the details. Now, I’m looking at word choice and phrasing, whether the ideas are expressed in the best possible way, and ensuring a consistent tone of voice. There’s also proofreading – picking up on misspellings, typos, and inconsistencies in terminology or formatting. Also, does the client want UK English, US English, Australian English…?

The result is a lot of small-scale, essential changes, usually marked up using Track Changes or a similar function depending on software used.

Once the client actions the feedback, the manuscript is ready for layout and typesetting – i.e. adjusting the document formatting to fit the print (or ebook) requirements of the chosen publisher. For this, the client can either go DIY with an online tool (such as the one available at reedsy.com) or use a professional with that specific skill set (I have clients who have recommended Jenni the Pro, if that helps). Then…

• Final check – I take another run at the manuscript now that it’s formatted for publishing. The focus here is on whether the formatting has affected the text at all. Also, does the contents list match the chapter titles, are the paragraph breaks consistent, are the apostrophes in the same format (no really, it’s not at all unusual to see a combination of ’, ´ and ‘). Then there’s checking there are blank pages in the right places (so that chapters always begin on a right-hand page) and checking for ‘widows’ and ‘orphans’ (where the last line or word of a paragraph falls on the following page, or  appears by itself at the base of the previous page). It’s also a final chance to edit or proof any changes or additions the client has made as a result of the previous two read-throughs.

While each read-through has its own specific focus, I often notice (and make a note of) other issues as I go through. This approach means there are three opportunities to pick up on any issue, which reduces the chances of any human error!

What should it cost?

Ooh, how long is that piece of string? You’ll find a variety of rates online for editing services, often (but not always) loosely correlated with the quality of the job done.

What I can tell you is my rate: 35€ per 1,000 words.

This is an ‘all-inclusive’ rate – everything described above and no additional surprises. If a client insists on an hourly figure then I can work one out, but this standard rate is much more transparent – the client knows how many words are in the manuscript they send me and so, they know exactly what the cost will be; no unpleasant surprises, just a well-edited book ready to publish.

So, that’s how I edit a manuscript. Some editors do more developmental or content editing, others are line editors, or proofreading experts, and some – like me – offer an all-in-one service. Above all, any good editor should understand and bear in mind your goals: who you want to reach with your book and what you want to achieve.

If you have any questions about the editing process (or my editing process) feel free to drop me a line. Happy to help.