The Art of Editing

It happens every time. Whenever a writer sends me a manuscript, I feel a delightful sense of anticipation. It’s like something potentially wonderful is in front of me and I’m eager to discover what I will make of it. This pleasure, however, is always measured by my need to read the document critically and analytically. I have to see what is working and what is not, to figure out how I can help.

In most cases, the assistance I offer is editing, whether it be at copy, structural or developmental level. But sometimes a different kind of expertise is required. It could be that the text is not yet ready to be edited or that the writer is seeking an opinion or some assurance about the work, rather than wanting any alterations to it.

That’s when a manuscript appraisal can be useful.

Such appraisals will typically consider the effectiveness (or otherwise) of elements of the manuscript, such as the topic, structure, pacing, plot development, characterisation, narrative voice and writing style. It may also address the plausibility of the story and dialogue, and reflect upon the themes presented.

Some manuscript assessments or appraisals will also include observations about market expectations and prospects for publication, although I am wary of offering such comments myself. The world of publishing can be a fickle thing and I do not want to give advice nor raise hopes that may be washed away in the wake of the next bright and shiny trend.

Both fiction and non-fiction works can benefit from a manuscript appraisal. It is a step before editing that offers guidance for revising, reducing, reframing or expanding a document. That said, there is still significant work involved in appraising a manuscript, beginning with a careful reading of the entire document. This is followed by the preparation of a detailed report which contains practical advice and examples for reworking the draft.

What you get from a manuscript appraisal, therefore, is the advantage of having a discerning reader for your work who is able to give insights into how you may improve it. You get a thoughtfully written report to assist with your revision, and you get the chance to refine your writing before embarking on the next stage of your journey.

If that sounds useful to you, then say hello and let me know. I am, as always, happy to help if I can.

Have you ever had a manuscript assessed or appraised? How useful was it? What did you learn and what did you change?

I confess. It’s true. Like you, I have my word quirks. There are those I use often because I’m fond of them (“nifty”, “tricky”, “expressive”, “poetic”) and many I use rarely because they don’t resonate with my voice.

This is fine when I’m being a writer. I can choose and use whichever words I want. It’s another matter, however, when I am editing.

A document I was recently working on contained numerous instances of the word “whilst”. My immediate inclination was to change all of these to “while” or to make gentle alterations to certain sentences so that neither word was necessary. There was arguably no need and no reason for me to do this, because the term “whilst” is not incorrect.

Even so, the tone of the two words differs.

Most of us would bump into the word “while” more frequently each day than we realise. Yet the simple addition of the “-st” on the end turns it into a term that is more likely to catch our notice. It just sounds that little bit more formal or even old-fashioned.

That’s fine if it is the writer’s intention. In general, however, the word “while” is probably preferable.

It may be that this tendency to use “whilst” is a quirk of my client that I ought to have left unchanged in the text. Yet as an editor, I need to balance the voice of the writer with the purpose of the document and also keep in mind the needs of the reader. My distinct feeling in this case was that the extra attention the word “whilst” attracted was more distracting than deliberate and did not fit with the overall tone of the document.

I made the changes accordingly and explained the reason for these to my client. I did leave one or two occurrences in place, though, partly to respect my client’s choice and also to add a touch of distinction here and there.

I guess you could say I’m quirky that way.

Which do you favour – “while” or “whilst”? What differences do you see between the two? When would you use one rather than the other?

This is how it goes.

You write your document. You work away at it until you happily hit that final full stop. You take a breath. You let it go. You’re ready for the next step.

You decide to get your work professionally edited. One way or another, you find me.

Maybe a friend mentions my name or you glean my details from a list of freelance editors. You might click through various, curious links until you arrive at this website and fill in my contact form, or perhaps I slip you a business card when we meet at an event somewhere.

However it happens, you find me and you send me a message. Chances are, it goes something like this… I’ve just finished writing my novel / PhD thesis / self-help book / website content / family history / entire life’s work. How much will it cost to edit?

This is the point at which I will ask you, very politely, to please send me a sample of your work.

Your words are your own. They are unlike those that any other writer might compose. This means your manuscript is unique, and so the level of editing and time it requires cannot be determined by intuition or a formula. It can only be done by me giving it a decent read and due consideration.

Some editors do quote for jobs on a per word or per page basis, while others might cite an hourly rate. That’s fine, but it is not my preferred approach.

I am much happier knowing what your writing is like by having read it. Doing so allows me to get a better understanding of how I can help you and how much is involved – in terms of cost, time, complexity and effort – in giving you that assistance.

Sometimes writers are reluctant to share their work, even when seeking a quote to have it edited. It is a delicate thing, I know, to send your words into the unknown hands of someone you’ve never met. Issues of trust and confidentiality can loom over such an exchange, not to mention that nagging question… What will she think of it?

Let me reassure you.

I read your work. I don’t judge it. And I keep all documents you send me safe and secure while they are in my care. I know how important they are.

You need to feel confident that you can send your work to me and I need to see it so I can ensure the quote I give you to work on it is fair to both of us.

The only way that can happen is if you let me read it first.

How do you feel about sharing your writing with other people? What prompts you to decide either to send it out into the world or not?

If you have spent any time at all exploring this website (and I do invite you to do so), you will be among the clever few who already know there are different levels of editing. While I happily offer my services in structural or substantive editing as well as copyediting, I have a definite delight in doing developmental editing too.

This kind of editing happens at an earlier stage in the writing process. It occurs closer to the spark that ignites the original idea, which means the words I’m working with when I edit developmentally are often in a more raw or tender form.

Writers who approach me for assistance with developmental editing are excited by their projects and committed to their creation. Often, however, they have not yet found the precise shape or content for their concept. While they care deeply about their topic and the message they want to share, many find themselves getting tangled up in the complex possibilities of expression and composition.

This is where developmental editing can help.

As with other kinds of editing, the focus of this approach is on ensuring a writer’s voice and vision are made clear. Where developmental editing differs from structural editing or copyediting is that the editor is more intimately involved in the actual formation of the text.

This can include things like helping you clarify your main point or purpose and devising a structure for its elaboration. Developmental editors may also propose new directions for you explore, based on either an early version of your manuscript or discussions about your topic. We can assist you with expanding your vision too, but it is just as likely that we will advise you on areas to reduce or exclude.

Undertaking an effective developmental edit can be a daunting venture for editor and writer alike, yet it is an exciting one too. It is not always an easy procedure, nor is it a speedy one, but it can be incredibly valuable.

The reasons why I enjoy developmental editing are many. There is the thrill of engaging with emerging ideas and the privilege of working so closely with writers. There’s the elation of sensing the rhythm that is hidden within the content, and the pleasure of guiding the writing into a cogent flow. Personally, I also relish the sincere satisfaction of turning a bundle of genuine but jumbled jottings into a comprehensible document with a compelling proposition.

Creative and intuitive, challenging and rewarding, developmental editing is the means by which an idea becomes a manuscript. It is the process that allows me to help writers like you shape your unruly ideas and language into lucid, expressive and poetic texts.

If you are curious about this kind of editing or want to discuss your project with me, please get in touch. It would be my pleasure to help you.

Have you had any experience with developmental editing? What was it like? How did it help you?

It has taken a bit of time and a lot of effort. You’ve poured your devotion, attention and even your heart into writing your book, your thesis, your website, your poetry. Now at last it is finished.

Almost.

After all that dedication and occasional frustration, you know how important it is that your message is clear. That’s why you understand the next step is to employ the expertise of an editor who will check, correct and improve your written expression.

But how do you find the right editor for you?

If you are reading these words, you have already discovered this website. (Hello, by the way, and welcome. I’m so glad you’re here.) Perhaps you were referred to me by a friend or you found my details on the Editors Victoria freelance register. These are both great ways to locate an editor.

Other options are to ask writers you know or admire for their recommendations or check the acknowledgements in books similar to the one you have written yourself. Authors often mention their editors here. You can also try using a search engine but your results might be a little mixed. Use detailed keywords and you may have better luck.

Of course, finding an editor’s website or contact details is one thing. Working out whether or not that person will best meet your editing needs is a different and more delicate process. It is also exceptionally important.

To help you choose the right editor for you, here are some questions you might ask.

• Does the editor have experience with your particular type of document or publication?
• Are any areas of special interest or skill noted?
• What do other people say about their experience of working with the editor, either through recommendations or testimonials?
• How promptly does the editor respond to your initial email or phone call?
• What is the tone of the editor’s communication with you (for example, brisk, informative, reassuring, casual, professional)?
• Has the editor shown you a sample of work? Are you happy with it?
• Is the editor able to complete the work you need within your preferred timeframe?
• Has the nature and process of the editing been explained to you?
• What level/s of editing does the editor do (for example, copyediting, structural editing, developmental editing)?
• Does the cost of the work reflect the value you will receive?
• Will the editor offer flexibility in your payment arrangements if necessary?
• What sense do you get of the editor from a website or social media presence?
• What feeling do you get from your interactions with the editor, either in person or online?

This last question may seem somewhat vague but it is perhaps the most important of all, as each editor will have an approach that is both personal and particular. Where one may be firm and direct, another could be more intuitive and supportive. Neither is wrong, but nor would these different styles both be appropriate for the same writer or project.

In my own work, I focus on being friendly and professional. I like to be thorough, which means I may not be as quick to finish your job as another editor. I tend to teach too. (Can’t help it.) This means I will often explain the suggestions I make and offer you more information about any issues I see recurring in your writing. Another aspect of my work is providing you with options to choose from. My belief is that you are responsible for your words, which is why you must make your own decisions about what you will do with them.

This approach works for me but it may not suit you or the specific piece of writing for which you are seeking assistance. That’s fine. You can look for someone more aligned with your requirements using one of the methods mentioned above.

The crucial point is this: a good engagement between writer and editor requires trust and patience on both sides. It is a subtle and sensitive relationship, so it is important you are happy with your choice.

Finding the right editor may take you some time. But like your writing itself, it is worth the effort. In both cases, when it happens well, the outcome can be a truly beautiful thing.

What has been your experience of working with an editor? What do you look for in an editor? How do you discover and nourish those qualities?