| Once an author writes a book, it should go to an | | | | and reworked if needed. Suggestions will be given |
| editor for a second look. Why? A good writer is | | | | for rewriting confusing and awkward areas to |
| also a good editor, right? That may be true, but | | | | create better flow. Sentence structure, |
| as writers we get too close to our own work to | | | | punctuation, grammar and spelling may also be |
| give it an objective critique. We know what we | | | | considered. |
| are trying to say, and what we have written | | | | Heavy or Substantive Editing |
| makes sense to us even if it doesn't to someone | | | | Still a copy editor's job, but in addition to reading |
| else. It's the proverbial "too many trees to see | | | | and marking errors in punctuation, grammar and |
| the forest" syndrome. When an editor reads your | | | | spelling, the heavy edit may offer editorial |
| work for the first time, certain things stand out | | | | comments on style, structure, content and flow. |
| like a pink rabbit sitting in a tree. Things that might | | | | Substantive Editing improves a manuscript by |
| not be obvious to you after you've worked on | | | | identifying and solving problems with order and |
| the manuscript for months. | | | | flow of information. It may require reorganizing |
| There are different types of editors and you will | | | | paragraphs, sections, or chapters for overall |
| need to choose one that is right for your book. If | | | | clarity or readability. Suggestions will be given for |
| your manuscript is exactly how you want it, you | | | | rewriting confusing and awkward areas to create |
| may only need a good proofreading from a copy | | | | better flow. Sentence structure, transitions, |
| or line editor. However, if your book needs | | | | punctuation, grammar, and spelling will also be |
| character and plot development, a check for | | | | considered. Heavy editing also checks URL links, |
| overall flow as well as proofreading for | | | | graphics, captions, photos, references, foot notes, |
| punctuation, grammar and spelling, you need an | | | | tables, quotes, bibliography, and citations; and |
| editor who can help you rewrite confusing and | | | | makes sure proper permission has been granted |
| awkward areas and create better structure. | | | | to use copyrighted material. Formatting to include |
| Here are some types of editing offered by most | | | | page numbers, margins, headings, font styles, |
| editors: | | | | indentations, paragraph spacing, header and footer |
| Developmental Editing | | | | text, a hyperlinked table of contents and indexing. |
| Similar to ghostwriting in collaboration with the | | | | Many times a heavy or substantive edit is the |
| author, a developmental editor assists the author | | | | same as a rewrite of the manuscript. |
| as a writing coach by taking a rough draft of a | | | | Proofreading is usually offered only to a |
| manuscript from initial concept and make | | | | well-written manuscript that has already been |
| suggestions about content, organization, and | | | | through a heavy edit. The copy editor will |
| presentation. The developmental editor always has | | | | proofread and mark errors in punctuation, |
| the target market (reader) in mind and may | | | | grammar, and spelling. Proofreading is limited to |
| make an analysis of competing works and | | | | 5-7 marks per page, so if your manuscript has |
| suggest additional research to "flesh out" certain | | | | more than the occasional grammatical error, you |
| parts and give the book credibility and factual | | | | will need to choose another type of editing. |
| content. Plot and characterization will be analyzed | | | | |