Types of Editing
Editing used to be done using the classic printed out double spaced manuscript, but since most writing is now done with word processing, manuscripts today can be more easily and clearly marked up using the commenting feature of a PDF or even in the word processing software
Developmental Editing
(Also called Conceptual Editing or Appraisal)
When an author has an idea for a book or a rough outline, they often need help bringing the pieces together. This is when they would bring in a developmental editor.
At this stage the editor is not interested in word choices, punctuation or grammar, and they are usually looking at a rough breakdown of the entire story rather than a final manuscript. This means they are looking at the overall structure, the plot lines, the story and the characters. They will ensure that everything flows as it should making sure the character growth is natural and inline with the events, the characters are consistent in their behavior, and all of the tension, the climaxes and the relief lands in the places where it will create the best possible experience for the reader.
They will help you identify where key details are needed and irrelevant material can be cut, as well as helping you identify and answer questions that your rough manuscript is asking. Questions you may not have even realised were there.
Developmental editors do not do any writing or rewriting because, ultimately, their job is to help you construct the best story you can by helping you structure and build it in the best possible way.
They understand the most effective ways to engage readers and will pass this knowledge on to you.
Very experienced writers probably think they don’t need such editing services, and for the most part this is probably true. However, even the best of us may miss something, so it’s probably always worth getting a talented Developmental Editor to take a look at your rough manuscript. Bear in mind it probably won’t cost anywhere near as much as it would an inexperienced author since not nearly as much work would be required by the editor, but is very likely to be worth the cost, since at the very least you will have confirmation that you’re working along the right lines, and at best you may discover something you were unaware of which, if addressed, could make your book stand head and shoulders above the rest.
Evaluation Editing.
(Also called manuscript critique or structural edit.)
This kind of editing comes in when you have a reasonably completed manuscript ready.
An evaluation editor will be checking for many of the same things that the developmental editor looked for. If they find issues with the structure etc., they will provide a heavily marked up manuscript and probably a short memo covering all the problem areas they feel they have discovered. This could be problems with the structure, plot, or any other of the big picture issues, or maybe issues with the writing itself, and they may recommend a content edit or a line edit.
On the other hand they may just give you a glowing report and tell you that your book is ready for copy editing and proofreading. Remember, depending on the results of the evaluation, the cost can vary. This is due to the amount of work that was involved for the editor.
Content Editing
(Also called substantive editing or full editing)
A content editor works with a complete manuscript and analyses everything that you’ve written down on the page.
As well as analysing the complete structure of your book, they will also edit the actual words, sentences, paragraphs and chapters, to ensure a good flow, a sense of completeness, effective story, solid plotting and effective ideas, as well as a consistent voice.
While a content editor may move around paragraphs or full sections within a chapter they will not move chapters at all, though they may recommend making some structural changes if they feel it will enhance the story. One of the content editor’s main concerns is the voice of the author, and to ensure consistency of this they work on a chapter by chapter basis, unlike a line editor that will only work with individual paragraphs.
They will provide a fully marked up manuscript, and possibly further recommendations regarding the structure, plot, story and characters.
Line editing.
(Also called stylistic edit or comprehensive edit)
A line editor’s job is to ensure the writing flows with a continuously consistent voice. They edit paragraph structure, sentence structure, spelling and grammar. This will often mean rewriting entire sentences or even paragraphs. They will point out “run on” sentences, cliches, jargon and verbosity.
Their ultimate goal is to provide the most effective word choice and grammatical structure so that everything you have written lands with the desired impact.
A good line editor will often remove the need for copy editing.
They will provide a fully marked up manuscript with any notes deemed necessary.
Copy editing.
(Also called Spelling, punctuation and grammar edit)
Once you have written your finished manuscript it’s always a good idea to hand it onto a copy editor, because it’s often the case that no matter how perfect you think the manuscript is, there will be many errors. There are many reasons for this, but the most common reason is familiarity. You read what you expect to see and often you do not notice what is actually there.
Most writers only detect about 60% of all errors. Even professionals can only manage about 85%. So a copy edit followed by proofreading is the best guarantee of accuracy.
A copy editor will find spelling errors, punctuation errors and grammatical mistakes and correct them all. Using a good copy editor can be the difference between looking professional and looking like an amateur.
Copy editors provide fully marked up manuscripts with any relevant notes.
Proofreading.
A proofreader takes the final printed proof of your book and reads it, marking up any errors or omissions and gives it a final review before it goes to publication. This is an essential task and is your last line of defence against published errors.
Pricing for Editing
Section 1.
These kinds of editing are charged at an hourly rate because the work involved may vary a great deal between different books.
The prices in this section assume a lot of editing is required, but since this is often not the case you will most likely be charged less.
We give you a price per word so you can compare prices with other similar services. However, because we charge for time, in most cases this means we can charge less. This means we guarantee the price will never be higher than the price per word shown, though it will often be much lower.
Developmental Editing – conceptual editing or manuscript appraisal
A developmental editor can usually complete 1,250 words per hour (5 pages)
So 75000 words would take 60 hours. @$25 us per hour is $1500 (2 cents per word)
Evaluation Editing –manuscript critique or structural edit
An Evaluation editor can usually get through about 2,500 words per hour (10 pages)
So 75000 words would take 30 hours. @$25 us per hour is $750 (1 cent per word)
Content Editing – Substantive editing or full editing
A content editor can usually get through about 1250 words per hour (5 pages).
75000 words would take 60 hours. @$25 us per hour is $1500 (2 cents per word)
Line Editing -stylistic edit or comprehensive edit
This differs from copy editing in that it often involves restructuring entire sentences and paragraphs.
A line editor can usually get through about 1250 words per hour (5 pages).
75000 words would take 60 hours 25 us per hour is $1,500 (2 cents per word)
Section 2
These prices are fixed per word.
Copy Editing – Spelling, punctuation and grammar
2 cents per 5 words
A 75000 word document would cost = $300
Proofreading – final pass to find any overlooked mistakes.
1 cents per 3 words
A 75000 word document would cost = $250
References available upon request. Free sample edits before committing to work
Email keithdraws@gmail.com to find out more or use the contact page here
“Keith Draws Editing services are definitely a company I’ll use again for editing. Thankfully they are into sci-fi (and many other genres too it seems), something I’ve had a hard time finding when it comes to editors (the good ones are always booked up 6+ months in advance, the rest generally don’t like scifi and we clash regularly because they don’t really “get” it).
They know and respect the limitations I put on them (I generally don’t want or need content editing and they do not try to do any of that) as to what I want. They are great at finding all of the bits and pieces that I miss, or my brain auto-corrects, and we work well together when it comes to hashing out what changes should (or could) be made.”
Travis Hill (Author)
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