Written by Tal Valante
Congratulations! You’ve finished your first (or second, or fourteenth) draft, and now your baby is ready for those polishing touches that will make it truly shine. It’s time to edit your novel.
Ah, self-editing. Some writers swear by it, some writers swear it will kill them first. Either way, it must be done. Or mustn’t it?
Table of Contents
- Should I Bother Self-Editing My Book?
- Types of Editing
Should I Bother Self-Editing My Book?
If you plan to self-publish, the answer is, absolutely.
If you plan to publish traditionally, the answer is, definitely.
No one can truly edit their own work. Spare yourself the 1-star reviews, and have your novel edited professionally before you publish it. However, self-editing your book first helps cut down on rates. The more you do yourself, the better quote you’ll receive.
Yes, you will likely be assigned an editor before publication. But in order to get there, you have to catch the publisher or agent’s attention. To that end, your manuscript has to be as clean as you can make it on your own.
Before we sit down to work, let’s go over the different types of editing a book might require.
Types of Editing
A lot of work falls under the word “editing” or “revising,” but it all comes down to three types: developmental editing, line editing (also known as copyediting), and proofreading.
It’s important to identify the types of editing your novel needs–and do them in the right order. Developmental editing, for example, will probably make you revise huge blocks of text. There’s no point proofreading before you do that, because all your effort and time will go to waste.
The correct order is as listed above: developmental editing first, then copyediting, and finally proofreading.
If you’re self-publishing, you’ll need all three. If you’re submitting your manuscript, all three should be provided to you at no cost by the publishing house.
Here’s what each of them means.
Developmental editors take a deep look at the novel structure. They look for plot holes, character development, pace and suspense, tight scenes, and other story-level details.
Self-editing on this level is almost impossible. It’s the Curse of Knowledge: you’re too close to the narrative, you know the facts too well, and you can’t imagine how new readers would perceive the story. Is it clear enough? Entertaining? Suspenseful? Engaging? You’re the wrong person to answer these questions.
You can find professional, hand-vetted developmental editors over at Reedsy.
Either way, be careful to interview your candidates and make sure they are masters of your genre.
Developmental editing rates for fiction manuscripts run anywhere from $0.03/word to $0.90/word. Some editors quote by page. The standard page has 250 words, so costs are usually $7.50 to $22.50 per page.
For example, a YA Fantasy manuscript usually runs about 60,000 words. Be prepared to spend at least $1800 on developmental edits.
Pricey? Yes. Worth it? Oh yes. The right developmental editor can make or break your novel.
Line Editing / Copyediting
At this level of editing the manuscript, story is no longer an issue. Language is. But not usage and spelling issues. Copywriters look at your voice, word-choice, paragraph and sentence structure, readability, and so on.
This is something you can and should do on your own! Do it before you send your book to be professionally edited, and all the more before you submit your novel anywhere.
Expect to pay $0.012/word to $0.02/word. Per page, the cost will be $3 to $5.
For a 60,000-word manuscript, that’s about $1,020.
The last but not least editing pass will weed out grammar and spelling errors, typos, inconsistency in names, and the likes. It’s a language-only pass.
Expect to pay about $0.01/word to $0.015/word. That would be $2.50 to $3.75 per page.
The same 60,000-word manuscript would cost about $720.
Some professional editors will lump line editing and proofreading under the same service. This combined service should cost about $0.02/word to $0.03/word. That would be $5 to $7.5 per page.
Getting Ready to Edit a Novel
Four more steps before we tackle the checklists.
- Let your manuscript breathe. Put it aside once you finish writing it (Stephen King recommends 6 weeks). This pause will let you come back to it with a clearer view. Instead of remembering what each word should say, you’ll be more able to see what each word actually says. Then you can judge if it works or not.
- Arm your vision. Install Grammarly, ProWritingAid, or a similar piece of software to help you catch grammar and spelling issues. They’re not enough, but they’re absolutely a good beginning. (Both Grammarly and ProWritingAid have free versions, but ProWritingAid’s is more limited.)
- Arm your ears. Install or bookmark a text-to-speech service to help you catch spelling errors, typos, repetitive sentence structure, overly long sentences, and so on. Natural Reader is a good free choice, for example.
- Pace yourself. Don’t attempt to edit huge blocks of text every day. The more tired you are, the more issues you’ll miss. Then you’ll just have to re-edit your work on the next day. Take frequent breaks to stretch, close your eyes, or do some deep breathing. This will boost your efficiency.
Now that you’re ready, let’s get to editing!
Self-Editing Checklist for Line Editing (Copyediting)
- In every scene, make sure the reader knows who the POV character is, what characters are present, and where the characters are situated in relation to each other. Don’t dump this information in bulk. Instead, sprinkle it over some dialog and action.
- If you’re writing a limited POV (first person or third-person limited), stop after every sentence and ask yourself: Can my POV character know/hear/think/see these details? For example, a character cannot see the color of its own eyes or the expression on its own face. Edit out whatever your POV character can’t perceive.
- When you write a description, make sure it plays on all five senses (unless your character can’t sense that way). Go for the unusual details: the smell of dust in the air of a construction site; the cool, dry air of a well-maintained library; the explosive taste of sun sugar tomatoes on a pizza.
- For limited POV, ask yourself after every description: Would my POV character notice these details? Would my POV character care about these details? Edit out or downplay whatever your POV character won’t bother focusing on. For example, if your POV character is fashion-blind, he probably won’t notice someone’s blazer cut—he might not even know it’s a blazer rather than a jacket.
- Also for limited POV, make sure you describe objects and places not the way they are, but the way your POV character would perceive them. For example, if someone at a café is working on a new laptop, a poor character wouldn’t describe its model and maker. She’d describe it as a sleek laptop she could never afford herself.
- Make sure each paragraph has a single key idea. If there’s more than one idea in a paragraph, break it into as many paragraphs as needed.
- Generally speaking, keep the page “airy” with white space. Huge blocks of text scare away readers. To avoid that, vary your paragraph length, and use large paragraphs sparingly.
- In dialog, start a new paragraph whenever someone begins speaking. Different speakers should not be in the same paragraph unless they’re talking at the same time, kind of like this: “I know what you did,” Jeremy said at the same moment that Louisa said, “I don’t care.”
- If your dialog runs long, break it up with action that reconnects the characters with their environment. Otherwise, you’ll get the “floating head” syndrome, where the reader loses all sense of the scene except for the dialog itself. Have your characters interact with objects around them as they talk. We humans rarely remain at complete rest during conversation.
- Destroy all exclamation points outside of dialog. An exclamation point, as F. Scott Fitzgerald said, is like laughing at your own joke.
- Use varying sentence lengths. Keep most of your sentences short-to-medium, with only the occasional long, winding sentence in between.
- Use varying grammatical structures. “He verbed” can only get you so far. But steer clear of the “Verbing, he verbed” structure (for example, “Sitting, he looked at…”). For one, it sounds amateurish. For another, if you use it a few times, it sounds conspicuously repetitive.
- If you do use “Verbing, he verbed,” only do it when the two actions are supposed to happen at the same time. That’s what this structure means. If one action is supposed to take place before the other, use a different structure.
- In 99% of all cases, use the active voice: “I ate the cookies,” rather than, “the cookies were eaten.” Apply the Zombie Test if you’re not sure—try adding “by zombies!” after the action. If it sounds right (albeit hilarious), that’s the passive voice. Change it to the active.
- Use a word frequency counter to weed out overused words. Readers will start noticing these after a while, and it will throw them off. You can use a free online counter such as Word Counter.
- Weed out most adverbs and replace them with stronger verbs. If he talked loudly, he shouted or called out. If she walked quickly, she strode. If he ate fast, he gobbled down the food. In addition to manually catching adverbs, run a search for “ly” and double-check those words.
- Weed out weak words such as very, almost, nearly, suddenly, started to, began to, really. They add little to the narrative.
- Weed out weak sentence structures. Watch out especially for sentences that begin with “There was,” “There is,” “It was,” “It is,” etc. Use them sparingly.
- Weed out filter words, such as “think,” “see,” “hear,” etc. when they are outside of dialog. Instead of “Johnny heard her scream,” use simply, “She screamed.” The fact that you mention it implies that Johnny is hearing it.
- Weed out 99% of “that,” “things,” and “stuff.” Use precise words instead, unless you deliberately want to sound vague.
- Watch out for “Saidism,” the excessive use of “said” synonyms. Use “said” or action tags most of the time. Only when the tone cannot be inferred from the words, consider using a different verb. For example, Nicky can say, “To hell with you!” There’s no need to shout it, because the exclamation mark is enough of a shout.
Self-Editing Checklist for Proofreading
- Start by running your manuscript through Grammarly, ProWritingAid, or the like. Don’t automatically accept every suggestion, but do consider every suggestion to see what’s unclear about your phrasing.
- Next, run your manuscript through the text-to-voice software of your choice. Listen to the narrator closely. If you find it hard to focus on sounds while you read, put away the manuscript and just listen. If there’s anything that sounds even a bit off, pause the narrator and check your manuscript. Keep an ear out for overly long sentences, too.
- Search for known trouble-makers:
- Their (belonging to them) / they’re (short for “they are”) / there (that way, in that location)
- Farther (more distant) / further (more advanced)
- Affect (a verb meaning “to influence”) / effect (a noun meaning “a result”)
- Who (like “he”) / whom (like “him”) / whose (like “his”) / who’s (short for “who is”)
- Its (belonging to it) / it’s (short for “it is”)
- That (refers to inanimate objects) / who (refers to people)
- Then (“at that time,” or “next”) / than (used for comparison)
- Lose (the opposite of “to win”) / loose (the opposite of “tight”)
- There are no such things as “alot” (it’s “a lot”) and “infact” (it’s “in fact”).
- There are many more. If you’re unsure about any word in your manuscript, look it up in the context of a sentence example to make sure you get it right.
- Search and replace all double spaces. They are relics of a publishing world long-gone. In your word-processing software, start a new “Search and Replace.” In the search phrase box, hit the spacebar twice. In the replace phrase box, hit the spacebar once. Select “Replace All.”
- Print out the manuscript and read it carefully. Highlight errors and typos. Write comments on post-it notes and stick them directly onto the relevant page.
- Mind how you capitalize and punctuate dialog.
- Keep your tenses consistent. If you’re writing the story in the past tense, present-tense verbs have no place in it.
- Scene break? Use an extra empty line, or centered asterisks (* * *), or a single centered pound sign (#).
A Note on Editing a Book
Remember, no one can completely self-edit his or her own manuscript. You’re bound to miss things. That’s okay. Self-editing is not meant to replace professional editing by a fresh set of eyes. Its job is to increase your chances with traditional publishers–or to save money when hiring a professional editor for self-publishing.
And finally, learn to enjoy, or even love, editing. Think of it as a golden opportunity to squeeze the most juice out of every word you use in your novel, or to sharpen the arrow which you will fire into your readers’ hearts. Make the most of it, and it will make the most of your novel.
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