What is editing?
 
Editing is both an art and a craft, a “grokking” of the author’s intent while also knowing the “rules of style.” The two main levels of editing are content editing and copyediting. Content editing is macro-editing; copyediting is micro-editing. Content editing focuses on organizational development and flow, voice (point of view), consistency of ideas and terms, plus troubleshooting for offensive ideas, corniness, weak material, etc. Copyediting (or line editing) focuses on error finding—grammar, sentence/passage structure, unnecessary words, punctuation, spelling, inconsistent style, etc.
 
Usually, both levels of editing are necessary. To what extent depends upon the quality and clarity of the manuscript. I normally accomplish both steps simultaneously. However, it is always a good idea to use a separate proofreader before publishing. The more eyes on the manuscript the better. Once an editor has gone over the manuscript, (sometimes as many as four passes!), the editor becomes so close to the material that he or she may not be able to catch all the typos.
 
 
What is the freelance editor's job?
 
A freelance editor is responsible for improving upon what an author is saying without diluting or overshadowing the author’s unique expression and original intention. An editor shapes the expression of an author's thoughts, not the thoughts themselves, unless the author consents.
 
 
Why is an editor necessary, especially if the author is a good writer?
 
An author is always too close to his or her work to be objective. It can become nearly impossible to see the gaps, redundancies, and distractions that are often instantly apparent to the reader. An author represents his or her subject and interests; an editor represents the reader. Thus, the editor always puts the reader first . . . and the author's feelings second (ouch!). This is not as painful as it sounds. As in any relationship of trust, both parties are freed to fully express their unique part in the play while collaborating to craft a clear, fascinating, and soulful manuscript. Authors who opt not to have their manuscripts edited risk alienating their audience.
 
 
What is the difference between editing and rewriting?
 
At times I will rewrite sentences or even passages of a manuscript to promote clarity and logical flow of content. However, if the entire manuscript needs to be rewritten, that task belongs to the author or to a ghostwriter, a job that I will consider on an individual project basis.
 
 
Where in the process does the editor come in?
 
Ideally, an author will run his or her outline and the introduction or first chapter by me before writing the bulk of the book. Feedback at this stage is invaluable and can be much more efficient, as it gives me a jump start on helping to assure a clear intention for the book, to define its audience, and to organize a logical flow of content. However, what usually occurs is that my services are enlisted after the book has been written. Thus, my first pass through the manuscript often involves every level of editing—developmental, content, line editing, and copyediting. That first pass also acts as a book critique, giving the opportunity to suggest what may need to be removed, where additional writing would be useful to clarify or fulfill ideas, sections, or chapters, and ways in which the author’s writing can generally be improved.
 
After this first editing pass, the author will respond to comments and suggestions, wherever agreeable, and delete, rewrite, or add new material. When the author is finished, I will make a final editing pass, polishing and perfecting the manuscript.
 
If I have been hired to do so, I will then commence with the interior design and formatting, as well as begin working in liaison with a book cover designer to accomplish a beautiful and compatible design package. When the interior is complete, the author or publisher will have a proofreader review the book for a final catching of errors. At this stage, proofreaders will also assure that any errors in layout are caught, such as bad line breaks or pagination problems.
 
 
What does an editor look for?
 
A good editor follows clear style guidelines. Most use the Chicago Manual of Style, 14th edition; the closest thing to America's national style guide. (My shelves are stacked with grammar, punctuation, writing, and reference manuals!) The rules of style are more guidelines than hard and fast rules. Style, as long as it does not deter from clarity and readability, can also be somewhat shaped according to the author’s artistic license. Consistency is the key!
 
The following list includes areas that editors (and writers) should consider when reviewing a manuscript.
 
Nonfiction Checklist
 
  1. •    Organization
  2. •    Research/knowledge of subject
  3. •    Focus on topic
  4. •    Originality of topic
  5. •    Marketability
  6. •    Presentation of material (accessibility)
  7. •    Targeted to a specific audience
  8. •    Format (one of following: argumentative; concept and case histories;
     chronological; true story; personal essay collection; channeled)
  1. •    Tone
  2. •    Clear, precise language
  3. •    Sound, logical delivery of content
  4. •    Quotes & paraphrased material properly attributed
  5. •    Sufficient use of others' works to support argument
  6. •    Sufficient examples, anecdotes, case histories
  7. •    Grammar and mechanics (spelling, punctuation, paragraphing, sentence
     structures, verb tenses, passive voice, appropriate vocabulary)
  1. •    Footnotes
  2. •    Front matter (dedication, table of contents, acknowledgments, foreword,
     preface, introduction)
  1. •    Back matter (references, endnotes, index, contact info, product sales
     sheet if applicable)
 
Fiction Checklist
 
  1. •    Characterization
  2. •    Point of view (POV)
  3. •    Plot
  4. •    Show (scenes) vs. tell (narrative)
  5. •    Dialogue
  6. •    Setting
  7. •    Description
  8. •    Language
  9. •    Gingerbread (frames, flashbacks, foreshadowing, prologue    
     epilogue,) Frills (diary entries, letters, poetry, news articles, novel
     within a novel)
  1. •    Voice (emotional status of character)
  2. •    Tone (how author wants reader to interpret emotional content)
  3. •    Theme (integral ideas that aren't overtly explained but implied)
  4. •    Grammar and Mechanics (spelling, punctuation, paragraphing,
     sentence structures, verb tenses, passive voice, appropriate  
     vocabulary)
  1. •    Presentation (for agent or publisher)
  2. •    Length (appropriate to genre)
 
 
 
 
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editing, why & when