Some people think of line editing as a more intensive copyedit, while others say line editing is more like developmental editing. In nonfiction, copyediting covers many of the things a line editor does, but in fiction the two services can be a little more distinct. I prefer to talk about them separately because the way I do them, they feel very different. Also, it can sometimes be more efficient to separate them into two rounds.
In this blog post, I’ll talk about:
1. How my brain works differently when I line edit or copyedit
2. The overlap between line editing and copyediting
3. What a copyedit looks like
4. What a line edit looks like
5. What the key deliverables are for line edits and copyedits
6. Why separating them into two rounds can be more efficient
1. How my brain works differently when I line edit or copyedit
When distinguishing between line editing and copyediting, I believe it comes down to the way that you’re thinking about the text, or which part of the brain you’re using. For me, copyediting is more logical and rational. I have clear set rules to follow from the style sheet, style guide, house style, and resources like the dictionary. Line editing is more creative. It covers the stuff that makes fiction magical: the rules-breaking artsy parts, or the way you can stir emotions in your readers through the placement of a comma or how you structure a sentence. It’s about the rhythm and texture of your writing, and making the prose fit the concepts, characters, and context of the story.
2. The overlap between line editing and copyediting
Both types of editing look for similar sorts of problems. They both focus on clarity and conciseness. They tighten up the writing by removing ambiguity, redundancy, and repetition. They pay attention to making your voice consistent by following a certain style. They both ensure the overall approach has been consistently followed.
3. What a copyedit looks like
Copyediting focuses on technical inconsistencies, like spelling, grammar, punctuation, style, logic. I also do some light fact-checking, and I check for appropriateness and completeness. I may also flag possible legal issues such as missing image rights.
A copyediting query might be something like “This fight scene happens at high altitude, but this type of tree only grows at low altitudes. Would one of these alternatives fit better?”
Find out more about copyediting.
4. What a line edit looks like
Line editing focuses on honing your author voice at the sentence level, and making sure character voices are consistent. In fiction, I’m more concerned with ensuring the point of view zooms in and out smoothly rather than jerking around. I’ll try to make sure the reader’s focus is being directed toward the bits you intended to be emphasized, and not distracted. My goal is to make sure you aren’t accidentally holding the reader at arm’s length or losing them in tangled imagery.
Working at the sentence level
Sometimes line editing can be a bit like a developmental edit, but it operates at a sentence level rather than at the story level. I pay a lot of attention to an author’s primary tools: literary devices and imagery. I might give you an example and suggest heavier revisions.
A line edit comment might be something like this: “In the previous paragraph, you said the wind was like an animal. Now you’re comparing it to a machine. This is a little confusing or disjointed. Which image is stronger? Consider expanding on the metaphor and using connotations to really unpack it. Here are some specific options for how to do that.”
Considering character voice
I’d also consider which imagery would best fit that character’s perspective. Continuing our example, if that character grew up in a forest, they might find machinery to be more alien and more threatening. On the other hand, they might immediately associate sounds with concepts that are more familiar to them, such as wild animals. In this moment of panic, do they reach for the nearest word in their personal vocabulary? Maybe the character doesn’t really know what a pneumatic drill is or what it sounds like. But they could instantly recognize a wolf outside their door.
I’d give you options so you can make the choice that feels right to you. It’s your book, after all.
5. Deliverables
In a copyedit, you get the edited manuscript and a cleaned-up copy. You also get a style sheet and word list to help guide your proofreader and typesetter. The style sheet includes information on all the decisions you’ve made that need to remain consistent. In fiction, this includes a timeline, worldbuilding information, character descriptions, and technology or magic descriptions. This helps prevent your plasma pistol from turning into a laser rifle between books! I keep track of the “facts” you’ve established so they can remain consistent. You can even use it as a series bible later.
Since the line edit is more focused on narrative craft, it comes with an extensive, tailored report that explains writing craft concepts in more detail, and how they specifically apply to your writing. This helps to prevent the manuscript itself from getting too cluttered with comments. It also lets me really dig into the ideas for you so you can grow as a writer. I define a lot of the jargon like guilding the lily, head-hopping, free indirect thought, and filtering. I also explain more advanced concepts like the suspense trifecta, psychic distance, stage direction, and active setting. I tell you how they are being used well in your manuscript, or where they could be improved on.
6. Being more efficient
Not every manuscript that needs a copyedit needs to be line edited. And sometimes a line edit will result in more extensive revisions. Those revised sections will need to be copyedited afterward anyway. It makes sense not to copyedit them twice! So, depending on your time, budget, and the needs of your manuscript, I can tailor my service to you by offering the services seperately or combined in a single round.
I am happy to discuss options with you. I can demonstrate what the services look like separately or combined in a sample edit. Ask me for one—it’s free!
Even editors need editors. This blog post was proofread by Lorenzo Fusini.
