by Jenn Windrow
Developmental editing is one of the most important steps in your book’s journey to publication, and one that shouldn't be skipped. But many authors are unsure what to expect when they hire a developmental editor. What is an editor looking for when they open your manuscript and read that first sentence? What questions do they ask themselves about your MS to help you write the best book that you can? How deep are they going to go when scouring your words?
As a developmental editor for six years, I’ve read dozens of manuscripts, and almost every time, my clients are surprised by the things I find. Things they never noticed the gazillion times they read it before sending it to me. I always tell them that’s normal. It's easier to see the problem areas in someone else’s work than in your own.
That’s true for me as well. Just ask my critique partners.
To help you understand what I look for when I read a manuscript, I’m going to share with you the list of questions I always ask myself as I am editing a manuscript.
Let’s get started…
When I edit, I ask myself whether the author followed the basic rules of structuring a novel. Sure, a novel’s structure can vary slightly depending on the genre, so there are exceptions, but most books follow the same structure. So, I ask myself, “Did they hit all their pinch points, plot points, and the mid-point reveal? Are the genre’s conventions being honored? If not, why, and does it still work?”.
One of the comments I leave most frequently is, “Remove this section, it slows the pacing.” Usually, I note this in areas with a lot of internal thought in the middle of the action. But it can be anything that disrupts the flow of the story and makes the reader want to skim to get to the good parts. Most often, the section that slows the pacing needs to be cut, removed, or moved.
This one is huge for me. Even a cozy book must have conflict. Otherwise, we wouldn’t have a story. Conflict is the driving force of a well-written novel, but I’ve edited plenty in which there are full chapters of characters sitting around and talking. Now, if they are laying out plans to rob a bank, then you’ve got conflict (or at least the start of it), but if they are sitting around and discussing the weather, and it is not integral to the plot, you don’t have conflict.
When it comes to plot, I like to remind my clients that every word, every sentence, every paragraph has one job: Move the plot forward.
As an editor, it is my job to ensure that the main plot, and especially the subplots, are all wrapped up and topped with a pretty bow by the end of the book so the reader doesn’t tumble into a plot hole.
I also make notes when something contradicts what was previously established in the plot. Even silly things, such as a character who was wearing a blue shirt two lines ago and is now wearing a green one. Those are all considered plot holes and inconsistencies, and when I edit, I am searching for all of it.
To me, this means likable. Now, not all characters have to be likable. Not everyone you meet in the world is likable, but even if they aren’t likable, they have to be relatable. The reader must understand why they do what they do or what makes them a Grumpy Gus.
I think the main characters’ goal and motivation should be established in the first chapter (or close to it), and if you have a well-structured novel, it will be. If you do this well, then the reader can follow the character’s journey to the end, when they ultimately achieve their goal.
When editing, I frequently encounter character dialogue that reads (or sounds) stilted or robotic, and I am sure you have come across it when you’re reading. This can be due to a lack of contractions or too many words used to express their thoughts. The best way to fix this problem is to read your book out loud. You’ll hear the cadence of the words and be able to detect and fix the problem in your MS.
One of the first things I identify is point of view (POV). Is the author writing in first person or third person? Past or present? Are there multiple character POVs, or only one?
Once I’ve established this, I ask myself whether the author is consistent, or do they “head hop?” Head hopping is when the author slips into another character’s POV and back again (usually within the same paragraph/scene), or they allow a character to know information that hasn’t yet been revealed to them by another character. In the latter case, I’ll often leave the comment, “The character can’t know this.”
Head hopping is not only wrong, but it’s also jarring for the reader. A good editor will point out when you slip into a different POV.
IMO, an engaging opening drops the reader right into the action. It introduces the characters, their story world, and the journey they are about to embark on. It showcases your writing style. And above all else, it leaves the reader wanting more.
I could write three blog posts on this subject alone, but I am going to stop here.
I hope that seeing the questions I ask myself when I’m doing a developmental edit will help you during your own editing process. Maybe when you are plotting and planning, you can look at this list and answer these questions before you even start writing. Or while you are self-editing, you can keep this list next to you to make sure you have hit all the points.
In the end, it will make your editor’s job easier when they begin work on your novel.
If you’ve worked with a developmental editor before, was there anything your editor did or said that surprised you? I’d love to hear about it in the comments.
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Jenn Windrow is an award-winning author of Urban Fantasy and Paranormal Romance. When she isn’t editing her own books, she spends her time helping other authors shape their characters and worlds into the best books they can be.
Jenn loves characters who have a pinch of spunk, a dash of attitude, and a large dollop of sex appeal. Top it all off with a huge heaping helping of snark, and you’ve got the ingredients for the kind of fast-paced stories she loves to read and write. Home is a suburb of it’s-so-hot-my-shoes-have-melted-to-the-pavement Phoenix, where she lives with her husband, two teenagers, and a slew of animals that seem to keep following her home. At least that’s what she claims.
Website: https://jennwindrow.com/
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Editors are magic. Developmental editing is a fascinating stage where a writer can catch problems relatively early in the process and save hours of work. I think my biggest surprise in developmental editing was learning that an opening I loved wasn't working. It took me a while to accept, but it made the book much stronger.
It is so hard to give up the parts of the books we love, but some times it is for the best. And yes, developmental editing is such a fun stage of the writing process.
I'm with Jenn - it's SUPER hard to give up that opening you adore. Good for you, listening to your editor!
Hello Jenn. You seem to think in terms of a template, which is fine. A hook
and conflict must figure in every novel. But conflict in an upmarket or literary novel isn't going to be like conflict in a bodice ripper or zombie novel. Nor are the readers the same. How then do you make adjustments for such differences?
Most books follow a basic template, or plot structure. Inciting incident, first plot point, second pinch point, mid point reveal, lowest moment, big battle.I am sure I am forgetting a couple off the top of my head.
But, depending on the type of novel, those things will be really different. A bodice ripper or romance, the mid point reveal will most likely deal with something having to do with the couple that throws their relationship in turmoil. Where a zombie novel, well, someone important is going to die in the midpoint, or we are going to see a super zombie.
The important thing is to know your genre really well and what those readers expect. Even if the books follow the same sort of plot structure. Once you really dig in and study structure, it's hard to watch a movie without noticing the basics of the plot.
I've got some fantastic critique partners who give me developmental edits. Early on someone in that role told me that my plot didn't progress. That was a shock. I thought it did. It took a while to let that sink in and then longer to learn how to write a story in such a way that the plot DID progress in action and tension and stakes. That skill made a HUGE impact in how well my stories are received.
I love that your critique partners can give you the feedback you need to help you structure your novels. I have the same, and they are worth their weight in gold.
And it is hard to accept those comments sometimes, but usually once you take a step back you realize that they might actually be right.
Those are some stellar critique partners, Lynette!
Thank you, Jenn, very much. I've written a mystery, first-person detective, good voice, good dialogue, an engaging beginning, and a dramatic and satisfying solution and ending. But...my critique group has made it clear that for them, the detective, who's rather self-effacing, doesn't do enough detecting in the late beginning or early middle of the book. I don't know how you knew I needed these wonderful tools to work on that, but here they are! Thank you again!
I am so happy this post came at the perfect time! And yes, detectives need to detect!!
I've worked as a DE for friends' books.
It’s such a fun thing to do! I adore getting to play in other peoples worlds!!
I've never actually gone to a developmental editor with my work. How much should I expect to pay (ballpark)?
It really varies. Some charge by the page, some a flat fee. It’s not a cheap edit, but so worth it.
Excellent commentary, thanks. I've added this post to my 'Other Resources for Writers' blog page.
I’m really glad you got something good from it.
Thanks for analyzing the structure of a novel, Jenn. When I start a novel, I have a rough idea where I'm going but my characters tend to take over to such an extent I sometimes can't wait to get up of a morning and see what's going to happen next. However, I do know what it is to have long dialogues or internal thoughts that affect pacing and so need cutting, removing or moving. Thanks for a great read for novelists!
You’re very welcome. And isn’t it great when your characters take over your life??
Nice article, these are all things I ask myself when writing. However, that’s because I typically favor an ensemble cast of characters and use 3rd person, omniscient in past tense.
I also favor reflecting complex worlds, where remote events color my characters’ actions and inform readers of challenges and results. In some instances I use “throwaway” characters and scenes. I’ve found, though, these are sometimes so interesting as to expand their roles. A throwaway character might fit a more useful role. A background detail might be tweaked to strengthen foreshadowing of a key revelation. Writing, I enjoy in discovering these new uses and hope readers will be equally delighted.
It sounds like you have a really great system to make sure you plug all those icky plot holes.
And you can always use those throw away stories for marketing material later!