What You Need to Know About Line & Copyediting
If you do an image search for “copyediting,” you’ll receive numerous pictures of text covered in red pen marks. Words are crossed out, and little marks appear between lines to indicate typos and grammatical changes. When most think about the editorial process, this is what likely comes to mind.
Copyediting is more tangible than structural/developmental editing, as it looks at spelling and the mechanics of grammar and not big-picture concerns like character or plot. (These issues are more associated with the “revision” stage.) But then there’s line/stylistic editing… This type of editing looks at paragraph construction and narrative pacing. Line editors will examine the author’s use of language and ensure the text is clear and accessible to its intended audience. They will eliminate wordiness and jargon, and may suggest rearranging some lines or paragraphs to aid with flow and clarity.
BUT ISN’T THAT COPYEDITING?
These types of editing are very closely related as both do look to improve clarity and strengthen voice, but stylistic/line editing is not so concerned with mechanics. That said, many fiction editors (including myself) may offer these services together; line editing will likely comprise the first pass while the second pass will be a more straightforward copyedit.
To illustrate the difference, a little further below is a sample from an old piece of my own work to illustrate the difference. While you consider it, keep in mind Editors Canada’s definitions of both.
Stylistic (Line) editing is “editing to clarify meaning, ensure coherence and flow, and refine the language.” (For a full definition, see Editors Canada’s Professional Editorial Standards for Stylistic Editing.)
Copyediting, then, is “editing to ensure correctness, accuracy, consistency, and completeness.” (For a full definition, see Editors Canada’s Professional Editorial Standards for Copyediting.)
WHAT TO EXPECT WITH A LINE & COPYEDIT
I will outline what fiction authors can generally expect from a line and copyedit, but I do want to start off with a reminder that this is my process. Some editors may choose to define a line and copyedit a little differently, and some may separate them altogether. It is therefore important that both parties are clear on what is expected before any agreements are signed. Okay! Now that’s out of the way, let’s continue.
Going back to the above definition, line editing is editing at the paragraph level and aims to
improve paragraph construction and add transitions to strengthen narrative flow;
ensure the language used is appropriate to the intended audience, remove jargon, and flag any insensitive wording or harmful imagery and stereotypes, and;
query any remaining big-picture concerns.
This is my main focus when working on a basic copyedit (see my Ready to Revise package). As I am only taking one pass through the manuscript—and know it’s likely the author will make further changes—I am bridging the gap between a developmental edit and a strict copyedit. I will of course correct grammatical errors and typos, but I’m more concerned that there are no instances of head-hopping; that your prose flows well and in a logical manner.
Here is an example:
The scoreboard presided over the football field, showing no mercy in the last few minutes of the game as the final seconds ticked by. It held Eeach one held for what seemed an eternity, taunting those foolish enough to pin their hopes and dreams—their very life—on the outcome. His breath came out in ragged gasps, crystallizing in the crisp fall air. He felt as if he were alone on the field, alone in the spotlight, every eye upon his back. His life had led up to this one play; this one chance to impress the scouts. The cheers and commands from fans and coaches alike seemed distant and out of focus, like a badly tuned radio.
As if from a distance, tThrough the static came the shrill blast of the referee’s a whistle reached the young quarterback’s ears. Breathless with panic, struggling to keep his breath even and attention focused, he moved into formation. He chanced another look at Tthe scoreboard. It was a schoolyard bully, cruelly stating the fact that his team was one touchdown behind. His breath came out in ragged gasps, crystallizing in the crisp fall air. He felt as if he were alone on the field, alone in the spotlight, every eye upon his back. His life had led up to this one play; this one chance to impress the scouts. The cheers and commands from fans and coaches alike seemed distant and out of focus, like a badly tuned radio.
As you can see, I’ve moved around a few lines, combined some and separated others, and generally tweaked them for wordiness and repetition. Now, the author can review the edits and make any further changes necessary. (How much will depend on the project and the author!) After, those seeking an agent may feel ready to query now they have a stronger manuscript. Those seeking to self-publish may opt for a second pass, this time focused on grammar and mechanics (see my Ready to Refine package).
So, by definition, this second pass would fall under copyediting. Once they receive a fully revised manuscript, copy editors will
correct errors in grammar, punctuation, spelling, and usage;
query anything that is incorrect, unclear, or not factual;
apply a consistent style and adhere to capitalization and spelling preferences;
check the manuscript is complete, flagging those elements which are missing;
identify anything that may need permission to print, such as song lyrics or photographs.
Again, once complete the author can then accept or reject changes as they see fit, and addresses any queries or concerns regarding permissions. Here is an example of what a copyedit on the above line editing example may look like once the author has reviewed it.
The scoreboard presided over the football field, showing no mercy as the final seconds ticked by. It held each one for what seemed an eternity, taunting those foolish enough to pin their hopes and dreams—their very liveslife—on the outcome. His breath came out in ragged gasps, crystallizing in the crisp fall air. He felt as if he were alone on the field, alone in the spotlight, every eye upon his back. His life had led up to this one play. T; this one chance to impress the scouts. The cheers and commands from fans and coaches alike seemed distant and out of focus, like a badly tuned radio.
Through the static came the shrill blast of the referee’s whistle. Breathless with panic, he struggleding to keep his attention focused as, he moved into formation. He chanced another look at the scoreboard. It was a schoolyard bully, mocking cruelly stating that his team was one touchdown behind.
Here, some images have been refined even further, and a few new word choices were made, but the edit was concentrated at the sentence level, making sure each worked as its own unit. While this does involve adhering to grammatical rules to convey important information clearly, fiction editors should also always consider register (tone) not impose strict—and in some cases outdated—grammar rules which completely erase your voice. We are here to respect each of our authors’ unique style, and want that to be what grabs your readers.
Now the final edits have been made, the author can move on to formatting and proofreading (or query agents).
WHEN TO HIRE A COPYEDITOR
There is no one-size-fits-all answer to this question. Experienced writers may go for one after a second draft, while newer writers may submit their seventh! Ideally, you should not hire a copyeditor until you have received (and implemented) some sort of developmental feedback or critique. If a line and copyedit is completed too early, before you solve troublesome character arcs and plot holes that require extensive rewrites, any edits will be useless. Not to mention that you’ll be paying a lot more in the long run!
So, consider first hiring an editor for a critique or developmental edit, or send it out to a few beta readers. If this is out of your budget, ask members of your writing community (or even loved ones) you trust to give honest feedback. Ask where they may have found the story slow or confusing, and where they really felt invested. This should help you pinpoint both what is working and what areas you need to work on, strengthening the manuscript as a whole.
Whichever you choose, hire the editor who you feel understands you and your vision (and thank those you’ve queried!). Doing so will help ensure the person you trust with your words do them justice, and make the money you spend money well spent. After all, you’ve worked hard and deserve to present your best story, and self, to the world.
As always, keep creating,
