From Drafting to Editing to Polishing to Publishing, Part 3

Editing the Manuscript (and a mistake in my last post)



In my last post, I talked about drafting the manuscript and my typical process of going through multiple drafts. When I feel it’s ready, the next step is to send it to my editor, Lorna Lynch. Lorna has edited all three novels in the “Monastery Valley” series, always profoundly improving them. (Last week I made a mistake in describing my process: I actually don’t send the book to my “beta” or trusted readers until after it gets its first round of editing, because these folks are doing me a favor and I want the manuscript to be in as good shape as it can be out of respect for them. Not sure what I was thinking!)

The developmental edit

When the manuscript is ready, I ask Lorna to do two rounds of editing: The first round is a “developmental edit” (also called a “structural” or a “content edit”). In a developmental edit, Lorna dissects and evaluates the structure of the book:

  • the consistency of the plot and character development;
  • whether the necessary structural components are all present and whether they fall more or less where they should;
  • whether the pacing and emotional tone of each scene carries the story forward and is faithful to the overall story arc itself;
  • and how well the story accomplishes its goals.

She always sends back the manuscript full of notes and comments, along with a lengthy document providing a separate critique of the story, characters, plot, and overall structure.

As you can imagine, this leads me to yet another revision, sometimes two. For instance, for my latest novel, The Bishop Burned the Lady, (you can preorder it now at a 10% discount from the publisher–click on the title and enter promo code PREORDER2018.) , I worked through the manuscript with Lorna’s separate critique first, because it tends to be more “global,” dealing with the overall structure and arc of the story. Then I went through the marked-up manuscript and dealt with each individual change she recommended.

No one expects an author to accept every one of her editor’s suggestions, but Lorna’s have always been reasonable and clearly aimed at strengthening the story and the writing. I seldom, heck, almost never, decide to ignore her recommendations.

The Copy Edit

The second round of editing also has various names: “Copy edit” or “line edit” are most common. This is the classic edit wherein your pages come back all marked with red ink. Lorna, as most editors do now, uses Microsoft Word’s “Track Changes” tool. The copy editor, rather than the big-picture focus on the arc and structure of the story and the development of the characters, focuses on individual paragraphs, sentences, words, grammar, style, usage. Not to say she may not notice something bigger that either she missed in the developmental edit or that I inadvertently messed up in my revisions after it. She even does a bit of proofreading—a third level of editing that focuses on typos, misspellings, and such gremlins that happen no matter how often the manuscript is revised or how many people searched proofread it.

I find that my revisions after the copy edit take quite a while. At this point, I’m not merely revising to address the copy edit, but I’m starting to polish the prose. That may be the wrong word choice—my prose is not meant to be “polished.” I aim for a style that is spare, consonant with life and society in a small mountain town. But while I’m working through the copy edit, I’m always on the lookout for a better verb, and more pungent image, a stronger noun.

The Proofread

Proofreading is the final edit. It usually happens just before sending the manuscript to the publisher, and more formally after publisher converts the manuscript into an electronic “proof.” (In the old days of paper manuscripts, the proof was called a “galley.”) Now, they come as PDF files, and the task is to check every letter of every word for accuracy. Some proofreaders, to prevent themselves from reading the story and possibly missing errors, start with the last sentence and work backwards, sentence by sentence. I can’t do that. Instead, I hire a proofreader.

I’ve worked with two proofreaders, each of them both marvelous and meticulous—Kim Cheeley and Lorna. I met Kim, in fact, after she borrowed a copy of Climbing the Coliseum from her local library—and promptly proofread it, marked up all its typos and misspellings (she found 51, this after I had proofed the galleys twice!), and sent me the library’s copy. (She bought them another.)Since she found numerous typos, misspellings, and errors, I vowed always to have a proofreading done by a professional.

When all is done, and the proof is approved, a release date is set by the publisher. My publisher, Black Rose Writing, set April 12 as the release date for The Bishop Burned the Lady. Watch this space or my Facebook page for news about activities around the release! You’ll be glad you did!