I recently completed an introductory course to train as a fiction editor. Eventually, I’d like to offer editing services for fiction authors, specifically those targeting the CBA market.
The first course I took was The Fundamentals of Editing. It explored the various levels of editing and the skillsets required for each.
So, what exactly are the different levels of editing?
Structural Editing
This level of editing is what most authors will recognize as Developmental edits. This edit is also referred to as manuscript editing, content editing, or substantive editing. This level of editing is focused on the organization and content of your material.
In my experience, this edit is your biggest one. The Structural Editor looks for plot holes, when your characters are flat or do things that don’t make sense. This first stage of editing analyzes the story world and helps the author strengthen all aspects of story. S/he marks incidences to dig deeper, verify facts, and provide permissions (if using song lyrics, referencing laws about when and how much you can use). S/he also flag instances that appear to infringe copyright or someone else’s work.
Your Structural Editor helps your story shine so that readers will keep turning the page.
Stylistic Editing
Sometimes this level of editing is provided with your structural edits, but not always. A Stylistic Editor (or Line Editor) helps improve clarity in meaning, ensures coherence and flow of your text. This editor helps your dialogue be more engaging and marks the “boring” passages. S/he also ensures that the mood you’ve set matches the mood of the content (ex. funeral scenes aren’t funny – unless you’re writing satirical pieces or comedy).
Copy Editing
This level of editing reviews the material already edited by your Structural Editor, and fixes grammatical issues, spelling, and usage. This editor will also check that your content is accurate and complete (ex. historical events match the era of your story). S/he will develop a style sheet, keeping track of all those details authors tend to change (eye/hair colour, treatment of numbers, Canadian or American spellings, etc.).
Your Copy Editor polishes your text so the grammatical-savvy reader won’t email you with a list of errors he or she has uncovered.
Proof Reading
This is the level that some indie-pubbed authors don’t do. However, you may want to think twice about skipping this step. In a small press setting, this edit is sometimes combined with your copy edits.
A proof reader examines your final edited text and ensures the style sheet is followed (the one created either by your publishing house or your copy editor). S/he looks at the overall “proof” (the copy of the manuscript that a designer provides which will be used for printing) to make sure it aligns with the final edited copy of the full manuscript. This editor checks for inconsistencies and errors, formatting issues, visual elements (like scene breaks or chapter headings), and marks problem areas.
The proof reader makes sure your final copy is “pretty” and accurate.
So there you have it, the different types of editing that goes into producing a final copy readers will love.
For more information on editing, check out the Editors Canada guide to Professional Editing Standards