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Member only guide to the Australian book industry.
MIN READ
Behind the Book is the ASA’s series of articles demystifying the book publishing industry and providing behind-the-scenes insights from industry professionals.
This week we look at the editing process. What are the different levels of editing? What is the process? What are the challenges that come with editing a manuscript? In this article, we hear from Erica Wagner, Children’s Book Editor with experience at Penguin Random House, Allen and Unwin, and Twelve Panels Press, and Lex Hirst, Publishing Director at Pantera Press.
The editing process may differ depending on whether you’re at a small or large publisher. You could work with one book editor throughout the entire process or you may have different book editors helping you at each stage. No matter how many editors there are, the process in a traditional publishing house consists of the following: the structural or developmental edit, copyediting or the line edit, and the proofread.
The structural edit
A structural or developmental edit will occur in the early stages of the publishing process and involves reviewing the overall structure of a manuscript. Editors and authors will work together to finesse the narrative arc and plot, characterisation, event structure or the order of material when it comes to editing non-fiction books.
The line edit / copyedit
Once the structural edit is complete, a line edit will follow. This involves an editor going over your manuscript with a fine-tooth comb, checking paragraphs and sentences, correcting grammar, punctuation, removing typos, and implementing a consistent style for the manuscript. They will perform a “sense-check” of the manuscript and consider questions such as: Has a word been repeated too many times? Is there awkward phrasing? Are there redundancies or inconsistencies? This edit also involves fact checking.
Proofreading
The proofread is the final stage of the editing process in which an editor is looking for any mistakes that might have fallen through the cracks, such as an odd typo or repeated word. It’s not the time to make major changes to the story or plot of the manuscript, as the proofread takes place right before the book is to be printed.
Erica Wagner says, “Publishers take on books that they think their company can sell, and editors make them happen, working closely with the publishing team, the author, illustrator and designer, and facilitating the whole process from manuscript to finished book.
“So the first step is usually a conversation or series of conversations with the author to get to know each other and to work out a process that suits us both. These initial conversations are a way for me to understand the author’s motivations and inspiration and to gain a better understanding of where they want to take their story. The editing might also take place over a series of sessions, in which we’ll read the story aloud and discuss it in detail. I might then mark up the manuscript with the discussed changes in place and any other thoughts and suggestions. This to-ing and fro-ing might happen another couple of times until we both feel that we’ve done the best we can for the story for now.”
Lex from Pantera Press echoes this, saying, “I work mainly on the developmental side of the edit – helping nonfiction authors see the shape of their project and supporting them through the writing process. With most of my nonfiction authors this is where the structural work takes place – during the many trades back and forwards on text as the author gets their story onto the page.
“With fiction authors I often (but not always) come in a bit later, waiting for a complete draft to land on my desk before I read it and give my structural notes – sometimes within the text, sometimes in a long, detailed letter, sometimes over a call, depending on how the author likes to work, and what kind of feedback I have. With all of my authors I have lots of conversations along the way, talking through framing, plotting, pacing, characters, and different ways they could tell the story. More often than not I’m a sounding board and the author already knows the answers. Sometimes I’m there for emotional, legal or moral support. Often my role is as a keeper of the schedule, setting deadlines and prioritising work. It’s a wonderfully varied job in which you might try to untangle a technical issue one moment, and help brainstorm a character’s background the next.”
Lex emphasises the importance of finding the right fit for your work, saying, “There are so many different kinds of publisher-author relationship, and you want to find someone who can offer you the kind of support you’re after. Often this comes down to the individual as much as the company they’re working for – although both are important to take into account. To my mind you want someone who is going to meet you where you are, who understands what you’re trying to do with your book, and who is passionate about it being in the world. Then once we’ve both committed to a shared vision for the publishing process, I tend to be led by the author. How often would be helpful to catch up? Would they like me to read and give feedback along the way, or wait until they have something more polished they’d like to share? Do they want hard deadlines, or just a general outline they can work to? Often I have more check-ins at the start, as authors are finding their feet, then it stretches out as we find our groove.
“I have a few principles I come back to time and again with my working relationships and transparency and trust are the most important to me. Trust in the process, trust in the story and trust in each other. At the end of the day, we’re two individuals working towards the same goals – making the book the best it possibly can be, making sure the book reaches the most people possible, and making a sustainable career for the author. There will be ups and downs because writing is really hard work, and publishing is a tough industry. But if you can trust each other, and be transparent about the challenges as well as the opportunities, you set yourself up well for a long, positive publishing relationship.”
Looking back over 10 years as an editor, Erica says “Creating any work is a confidence game, and editors require belief in the intrinsic value of what they’re doing as much as authors and illustrators. Finding the right way to support authors and illustrators through the inevitable highs and lows of a long-term project involves digging deep at times. It’s challenging when feedback causes hurt or misses the mark or tensions arise. Giving each other time to process and being honest about all these things can help.”
Lex says, “To me a strong character is vital for a strong relationship with your reader, so I adore characterisation chats, and find I always come back to them. Structural conversations in general are a big favourite, as I love watching a book come together. Even better is reading a manuscript that has been returned post-structural notes and seeing all the incredibly clever ways your authors have enhanced the text in ways you never could have imagined.”
Lex says “Take it as far as you can yourself before submitting – you often only get one chance with a publisher, and while we’re all looking for potential, we’re also time poor. I can’t recommend enough joining writing groups and your local writers’ centre, as well as finding ways to publish and practise your craft. Be as comprehensive as you can with your submission – you never know what tidbit is going to catch someone’s eye. Publishers are always looking for a way they can sell a book to their colleagues in other departments.”
The question of whether or not you need an editor relates to your publishing goals. If you wish to be traditionally published, you will not need to engage an editor because your publisher will take you through the editing process. If you are concerned about ensuring your work is at a publishable standard prior to submitting to publishers, it is more typical to seek a Manuscript Assessment, or to engage a Mentor to assist you in preparing your work. Or find out more about developing your manuscript to the highest possible standard at our upcoming event with editor Laurel Cohn, When am I done? Navigating the manuscript development phase.
If you’re looking to self-publish your manuscript, hiring a book editor is essential to ensure a professional standard for your book. The Institute of Professional Editors has a directory of accredited editors that can assist self-publishing authors at any stage of the book editing process.
