Once you’ve decided what type of editing you’re looking for and have determined your budget, it’s time to find an editor. This might be the moment where you’re shaking your head in panic. Things are tight, and you can’t afford to sink too much into a book that might not pay you back, even if it is your dream.

That’s okay! Your budget is not going to get in the way of your goal. By applying just a few tweaks, you can assess your manuscript’s needs just as described in Types of Editing and What Type of Editing Do I Need?. It also may be worth asking your editor(s) if they provide discounts for people in financial need. You’ll never know if you don’t try!

Initial Self-Editing

This step is the same regardless of your budget. Your job is simple—to read through the manuscript and fix any obvious mistakes. It’s going to be very difficult to read the story if you can’t read the writing, so make sure obvious typos are corrected, you’ve used punctuation like periods and quotation marks, you have paragraph breaks so your manuscript isn’t just a wall of text, and you’ve stayed (mostly) in the same tense from the same point of view. You’re not trying to make anything perfect, just good enough that you can focus on the story without the writing blocking your way.

Alpha Reader

The alpha reader is the first audience, so by definition, you will have one at some point. Your life will be easier if it’s sooner than later. Their job is to read the story and tell you if it made sense, if they cared about the characters, if the plot was interesting, and anything big-picture that jumped out at them. Anyone can alpha read, so long as they’re willing to be honest and engaged. Many people use Facebook groups, Reddit threads, or Discord communities to find feedback, and people will often swap manuscripts as a free way of getting it. This previous article talks about how to find alpha readers and what to do with their feedback when you get it.

Manuscript Evaluation

A manuscript evaluation, also called a story critique, manuscript assessment, or editorial assessment, is a broad-scale report on aspects of your story. You’ll get similar feedback as from a (good) alpha reader, but with specific ideas about how to implement the changes and ideas for future drafts. If you can afford one, a manuscript evaluation can serve the function of a developmental edit, but for much cheaper because it’s an outside document with no changes in-line. It’s up to you to put the feedback into action. While this traditionally goes between alpha and beta reading, if you’re on a really tight budget you might choose to do some editing of your own before getting one.

Beta Readers

All manuscripts need beta readers. You can find people who beta read for free in Facebook groups, on Instagram, at your family dinners, or at a local book club. Remember, beta readers aren’t necessarily professionals. They’re just people who like to read and are willing to answer a few questions afterward. This previous article talks about how to find beta readers and what to do with their feedback when you get it.

Developmental Edit

If your beta readers are largely confused, a developmental edit would be helpful. Given how expensive this can be, it’s likely to be a stage you’re tempted to skip. Don’t! With a few hours and a handful of notecards, you can figure out your manuscript’s structure. [Article incoming!] After making these big changes, it’s worth doing another round of beta reading to see how your readers respond. (And remember, if you still need help, a manuscript evaluation can be slotted in here for a lower price point than a full developmental.)

Line Edit

The next step in the editing process is line editing. When you’ve done big-picture work and feel happy with the story itself, it’s time to focus on the words. Consider whether your budget can stretch to cover a freelancer. You can often find beginner editors on freelancing websites for affordable prices, and it’s ideal to have different sets of eyes on your manuscript. You’re already so familiar with it you may not see the forest for the trees, especially after having read it so many times! If that’s not an option, there are some basic line edits you can make yourself. [Article incoming!]

Copy Editing

After (or sometimes concurrent with) line editing, is copy editing. A copy edit is more technical than line editing, and it serves to make sure everything is consistent and correct. If Zephaniah has black hair at in chapter one but is swooping blond bangs from his eyes in chapter two, your readers are going to have questions. And they’ll definitely notice if you change the spelling of your magical city’s capital halfway through, even if you don’t. Same as before, consider whether you can hire a freelancer for a fresh set of eyes. Your manuscript will be better for it, and your wallet doesn’t have to crumble in the process.

Proofread

Getting another set of eyes to proofread is important. You know how they say “Write the story you want to read”? Part of that is because you read your own work so many times. When you’ve already gotten used to your work you’re less likely to notice smaller technical errors, so it’s preferable to have someone who isn’t familiar with your manuscript proofread.

Because proofreading looks for things like punctuation and missing words rather than larger story problems, you can split up your manuscript for multiple proofreaders. Consider swapping chapters with another author to proofread, or giving away chapters to friends to proofread as a “sneak peek.”

If all else fails, put aside your manuscript for a few weeks and add a reminder to your calendar to pull it back out for proofreading. Even a little break can refresh your eyes and help you find new mistakes. You could also change the “environment” your words are in by switching up the fonts, sizes, or even your word processor. The text will look different to your brain and it will be easier to find mistakes. Remember, if you don’t know for sure if something is correct, look it up. The internet is a wealth of knowledge and it’s much better to spend a few minutes searching than to publish a book with errors.

Format

While it is possible to format your own book (especially if it’s not too complex and you’re already good with technology), this might be an area you want to hire out. Getting an ebook format is typically pretty affordable, and you can always come back and publish a paper/hardback later when you have the money. If you really want to do it yourself, familiarize yourself with your publishing platform’s rules and guidelines as well as getting comfortable with your word processor. You’ll find it useful to look at traditionally published books and their layouts, to avoid looking like what’s disdainfully referred to as “hybrid.” The internet is a wealth of tutorials and answers for your other questions.

Bonus: Consulting

Consulting can happen at any point in your publishing process, whether that’s just once at the end to triple check everything is in order, interspersed questions throughout, or walking you through the whole process. It’s truly a new indie author’s best friend! A trustworthy consultant is friendly, knowledgeable, keeps you in charge, and is clear about pricing. It’s a great option anytime you feel like you need a little more guidance.

You did it! Whether by hiring editors, asking friends, or braving it alone, you’ve now bettered your manuscript and feel confident about the content. Well done! Editing is a difficult process, but it’s all about making sure you share something you’re proud of. It’s time to take a breather, because there’s more work ahead.

In the coming articles, we’ll be addressing more of the most frequently asked editing questions from new (overwhelmed) independent authors.

• What is an advance reader copy?
• Can I format my own book?
• How do I developmentally edit my own book?
• How do I line edit my own book?

~Allison of Sigmon Editorial

From idea to ISBN, Sigmon Editorial’s got your back.

Sharing your manuscript, especially in its infancy, can feel extremely vulnerable. Many people write because they have an important message to share that’s close to their heart, whether that’s written explicitly in a memoir or subtly in a fantasy world, so sending your hard work into the world can be really difficult. But sharing the work is part of the work. Here are some factors to consider while you’re hyping yourself up to hit send to your editor, beta readers, or just your friends.

• Your editor reads for a living (or at least as a side job). They were likely an avid reader even as a child. They’ve seen it all and are not there to judge you. A good editor cares about improving your work without changing your voice, and they are going to get nowhere on that if they’re judging your work instead. Plus, many editors charge by the word, and it’s not efficient to waste time evaluating the author as a person.
• Your beta readers (ideally) love reading. You might be worried that your work is stale or has been done before, but readers will happily read the same story in different packaging over and over. Remember the vampire and werewolf craze of the 2000s after Twilight came out? There are thousands of books and movies that play on the exact themes of supernatural love triangles that all got very popular. It may be true that your story or theme has been done before. But you haven’t done it yet, and yours is going to be different just because it’s yours. 
• No one is ever going to love your work if no one ever reads it. All works of art have their ugly phases, and as difficult as it is, taking critiques is what takes a manuscript from passable to a masterpiece.
• Just like there are many types of writers, there are many types of readers. Not everyone is going to love your manuscript, and that’s a good thing. It’s not for everyone. The editing stage helps you define your manuscript’s purpose, which will help you find your audience. Whether you’re hoping for an audience of 10 or 10,000, some people will love it and others won’t. You’re not writing for everyone. You can’t write for everyone. Excluding some readers is how you make something truly special for your intended audience.
• Getting used to vulnerability is a rite of passage for writers. Unless you’re planning to publish anonymously and never tell a soul, the end goal is probably to share your work with the world. Think of it like a muscle. Maybe you haven’t stretched your creative vulnerability muscle in a while, or ever. It’s going to be difficult at first, but it will get easier with time.
• Being worried that people will reject your writing means that you care about it and put yourself into it. When writers put themselves into their work, that’s what gives it a spark. That worry is a good sign that you’re doing great.

In the coming articles, we’ll be addressing some more of the most frequently asked editing questions from new (overwhelmed) independent authors.

• I can’t afford any of this!
• What is an advance reader copy?
• Can I format my own book?
• What is a vanity publisher?

~Allison of Sigmon Editorial

From idea to ISBN, Sigmon Editorial’s got your back.

Once you’ve decided what type of editing you’re looking for, it’s important to determine your budget. Whether you’re editing to self-publish or editing to submit to an agent, your manuscript could use some polishing!

Editing prices are all over the map, and knowing what you can afford will help you decide where to look. You might check out the Editorial Freelancer’s Association’s or Reedsy’s calculators to help you decide what’s reasonable for your manuscript. Prices fluctuate with time, genre, type of editing, and number of words, so it’s a good idea to have an understanding of typical ranges. Once you have a number in mind, you might start looking for:

Someone you know personally.

If your budget is very small compared to current market conditions, consider who you know. While professional edits are preferable, it’s not always that simple. Your budget doesn’t have to hold you back from your goal! Do you know anyone who studied English or literature in school? Do you have a friend who proofreads on the side? What about your bookworm cousin?

While you might have to sacrifice on speed and intricacy, a friend-of-a-friend who self-published a book five years ago could be a more affordable option that still improves your writing. And who knows, you might inspire the launch of your neighbor’s new editing company!

A freelancer.

If your budget is small to medium compared to current market conditions, or you’d just prefer to avoid a large company, freelancers are the winners. There are many freelancing websites where you can browse people and services, or you might find a small editing company.

The pros of freelancing websites are that your money is protected should something go wrong, and you have many potential editors all in one place. The pros of a small editing company are that they’re frequently more affordable than freelancing websites, which charge fees on both ends, and that you have more direct contact with your editor, something freelancing websites limit.

Freelancers vary greatly in terms of skill, pricing, and professionalism, so take your time to find someone who specializes in your genre, gives you a clear quote and timeframe, and has a reputable portfolio of past work. (Some might even have scholarship and discount programs. You’ll never know if you don’t ask!)

An editing company.

If your budget matches current market conditions, or you’d just prefer a traditional editor, consider an editing company. These companies have many reputable, educated editors on staff so you can be matched with the perfect one for your work. This is a great option for authors looking to build industry credibility, especially those who want to publish traditionally. (If you decide to go with an editing company, make sure they’re a real company. It’s easy to get scammed as an independent author!)

Whatever route you decide to take, your opening message might look something like this:

[Greeting, name!] [Introduction if necessary] [Confirm that you’re interested in developmental editing/copy editing/etc] [Offer some brief details about your manuscript such as the genre and word count] [Ask if they offer samples] [Ask for a price quote] [Thank them for their time] [Signed, name.]

Whatever your budget looks like, you can find a great editor. You’ll know you’ve found the right one for you when you get a friendly response, a price quote that fits your budget, turnaround that suits your schedule, and a sample edit that makes your writing better. It’s okay to try out multiple editors before making a final decision.

(By the way, an editor may or may not charge for a sample edit.)

In the coming articles, we’ll be addressing some more of the most frequently asked editing questions from new (overwhelmed) independent authors.

• I’m scared for people to read my work.
• I can’t afford any of this!
• What is an advance reader copy?
• Can I format my own book?
• What is a vanity publisher?

~Allison of Sigmon Editorial

From idea to ISBN, Sigmon Editorial’s got your back.

In case you missed it, here is the first article in this series, focusing on types of editing, and the second, about how to know what type you need.

Quick recap: What’s the difference in an Alpha Reader and a Beta Reader?

After yourself, your alpha readers are your first audience, the ones who will tell you whether your story is generally enjoyable, what genre they think it fits in, and if character arcs are believable. Think of this as story validation. You probably have an alpha reader, even if you don’t know it. If a fellow writer reads your manuscript before you send it off to an editor, or you send snippets to your partner, or your writing group helps you brainstorm to fix plot holes, that’s alpha reading.

When you have your second draft, it’s time for beta readers. While your editor will make sure you dot your i’s and cross your t’s later, beta readers will tell you how someone not necessarily professionally trained interprets your work.  Beta readers range in the depth of their feedback. They might say things like “I found the main character boring,” or “I couldn’t keep track of who was who,” or “Why is he helping the president again, wasn’t he in cahoots with Goldenface?”

Early advance copies are another thing altogether.

So where to find alpha or beta readers?

Anywhere! An early reader, whether you need an alpha or a beta, is just a person who is familiar with the genre you’re writing in and will give you general feedback. 

While it’s true that anyone can alpha/beta read, be aware that your grandma might not be the best choice. (Unless you have a brutally honest grandma, in which case, go for it!) You want readers that will be honest with you, who will tell you what they loved and what they hated. Anyone that you think would enjoy your story could early read—just ask! 

Readers don’t have to be people you already know. Hundreds of Facebook groups and Reddit forums are dedicated to writers helping each other or finding early readers. These people are typically seasoned in early reading and will give you good feedback, often in exchange for you doing the same.

If you’re looking for a professional alpha/beta reader, freelancers are a great option. Consider making an account on a freelancing website and browsing beta readers. This service can be quite affordable, and all their previous reviews and work samples are available. These people are highly skilled in providing useful feedback while maintaining your unique voice, and your investment is protected by the website until you’ve approved the final product.

You’ll need at least one alpha reader, and then, after your changes, two beta readers, and you’ll get the best results by staggering their reads. If you do it all at once, you’ll have a mound of feedback and very few chances to test out the changes you’ve made before sending off to an editor. 

When you identify your alpha reader, who, remember, is your story validator, make sure to ask them some questions beyond “did you like it?” Consider broad picture questions such as:

• Is this what you’d expect from a fantasy/mystery/romance novel?
• Does the storyline feel logical, or did you get confused?
• Were you able to keep up with the number of characters?

Make sure to self-edit before sending off to an alpha reader!

When it’s time for a beta reader, start with the most qualified reader. Maybe this is a freelancer who beta reads professionally, maybe it’s a friend who published a book, or it’s maybe an old English teacher. Regardless, this person can communicate with you freely and will tell you if you have huge story problems. 

When you get the notes back, make a separate version of your document to edit. Make the changes that make sense to you, and keep the rest of them for later.

Then send out your manuscript to your other beta readers. While these people might not give you the most specific feedback, they can tell you what they enjoyed and what they didn’t. Depending on how many betas you have, you might want to do this in waves. Multiple rounds can give you time to adjust and implement feedback.

Questions you might ask your betas include:

• Did you ever get bored?
• Could you tell the characters apart?
• Was the ending fulfilling?

Be warned, inexperienced betas may respond with answers like “I liked it” or “It was good” if you don’t ask specific questions. While this isn’t a bad thing (we all want our work to be liked!) it isn’t always super helpful. There are many lists online of questions to ask your betas, but there’s no need to ask them all. As a general rule, don’t expect a beta reader to answer more than ten questions thoroughly. The more questions you ask, the more you’ll see a decrease in quality answers. Use your best judgment here to make sure you’re not overwhelming your readers, or yourself later when you have to sort through all of your betas’ feedback. Speaking of—

How many beta readers do I need?

You need two beta readers at the absolute least. With just one beta, you have nothing to compare their thoughts to. How can you know whether a beta is right about the plot going too quickly or if it’s just a personal preference? You have at least two betas! When you can compare and contrast feedback, it’s much easier to see the common threads.

On the flip side, you don’t want too many cooks in the kitchen. While there’s no hard and fast rule for how many beta readers is too many, there are a few things to keep in mind.

• Each beta reader is another person to ask “Have you read the book yet? When will you have the feedback back to me?”
• Each beta reader is another person to (potentially) swap feedback with, which can be a lengthy process.
• Each beta reader is another stack of feedback to sort through and decide which parts are usable.
• Each beta reader is another free copy of your book you’re giving away.

What about sorting through the feedback?

Start by gathering all your feedback in the same place and looking for patterns. (A spreadsheet is good for this!) If multiple people saw a problem with your main character’s development or the order of your chapters, that’s probably worth editing (or at least noting for your editor). This is likely big-picture feedback, so remember to save a copy of your original manuscript before you change anything.

It’s also worth noting the outliers, the bits of feedback that only one or two people mentioned. This is trickier. Is it good feedback that only one person caught, or is 13-year-old cousin Ashton just not paying attention to the foreshadowing? As you look at each outlier piece of advice, ask yourself whether it would make your story better, if it fits with your style, and if it’s necessary. While reader feedback is important, trusting your own intuition and vision is vital to creating the most authentic story. (And you can always ask your editor or consultant for a second opinion if you’re not sure whether something is good advice.)

In the coming articles, we’ll be addressing more of the most frequently asked editing questions from new (overwhelmed) independent authors.

• How do I find an editor anyway?
• I’m scared for people to read my work.
• I can’t afford any of this!
• What is an advance reader copy?
• Can I format my own book?

~Allison of Sigmon Editorial

From idea to ISBN, Sigmon Editorial’s got your back.

If familiarizing yourself with types of editing is the first step in the editing process, knowing what type is right for your manuscript is the next. In case you missed it, here is the first article in this series, focusing on types of editing.

Self-Editing

When deciding what type of editing you need first, begin by flipping through your manuscript. Do you see lots of typos or confusing phrases at a glance? Maybe you wrote parts using speech-to-text, or have a tendency to forget quotation marks or paragraph indents. If this is you, your first step is to reread your own work to correct your spelling, phrasing, and formatting. Don’t worry about every intricacy, just make the text readable. Your editor(s) will have a difficult time assessing your story if they can’t focus on the words!

Alpha Reader

After yourself, your alpha readers are your first audience, the ones who will tell you whether your story is generally enjoyable, what genre they think it fits in, and if character arcs are believable. Think of this as story validation. You probably have an alpha reader, even if you don’t know it. If a fellow writer reads your manuscript before you send it off to an editor, or you send snippets to your partner, or your writing group helps you brainstorm to fix plot holes, that’s alpha reading. All manuscripts need alpha readers, whether formal or not, for the simple reason that writing is meant to be read. Without a fresh set of eyes, you can’t really know whether your idea is working or if it needs some work.

Manuscript Evaluation

A manuscript evaluation, story critique, manuscript assessment, or editorial assessment is a multi-page report on the reading experience and major story elements with specific advice and ideas. Where an alpha read might give you feedback like “The main character seemed flat, maybe their personality could be expressed more,” an evaluation might say, “To flesh out the main character, consider the characteristics they already have and how that might work in another environment. We know they’re kind, so maybe in X or Y scene, we see that kindness manifest as naivety.” If you’ve written a narrative, it’s usually a good idea to get an assessment. Because they don’t include in-line changes, you maintain a lot of control over the line-by-line verbiage while still refining your story, which can be a great warm-up to getting to know your characters and world.

Beta Readers

When you have your second draft, it’s time for beta readers. All manuscripts should go through beta readers to ensure a high quality reading experience for an average person. While your editor will make sure you dot your i’s and cross your t’s later, beta readers will tell you how someone not necessarily professionally trained interprets your work.  Beta readers range in the depth of their feedback. They might say things like “I found the main character boring,” or “I couldn’t keep track of who was who,” or “Why is he helping the president again, wasn’t he in cahoots with Goldenface?” Some will leave it there, while others will write a whole manuscript evaluation. It’s always worth finding out what level of feedback you can expect, especially if you’re on a tight budget or timeline.

Developmental Edit

After you’ve gotten feedback from your beta readers, examine the common denominators. Did multiple people tell you the story moves too slowly? Did a few suggest big changes? Was there an overall consensus of confusion? And are these changes too big or too complex to reasonably make on your own? If so, you need a developmental edit. A developmental editor will make in-document changes for scene-level edits, and will also write a chapter-by-chapter report to make sure every part of the story is doing its job. After you receive feedback from your editor, your manuscript is back in your hands to make these important, big-scale changes. It may take multiple passes between you and your editor to have a manuscript you’re pleased with, and that’s okay.

Line Edit

Once you have a story that’s solid, it’s time for a line edit. It’s important not to jump the gun—don’t invest in a line edit until you’re happy with the story and not planning any more beta reads or developmental passes. Unless funds are really, really, really tight, you need a line edit. Where previous editing stages have made sure the story is engaging, line editing makes sure the writing itself is engaging. The story could be incredible, but if it’s not fun to read, your audience will never find out.

Copy Edit

Copy editing is more technical than line editing, and looks to perfect your language and consistency. Making sure your manuscript uses either “toward” or “towards” the whole way through ensures your final product looks professional and worth a reader’s time. Some editors do copy/line editing in the same pass, which might be cheaper and faster than getting them done separately.

Proofreading

Proofreading is your final step, and all manuscripts need proofed. This makes sure that your work appears professional and adheres to standard language. These are the really pedantic changes, the ones that might have slipped through the cracks thus far, and they make all the difference in your readers’ perception of you as an author.

To recap-

1. First, give yourself a read through to make sure the manuscript isn’t especially messy or hard to read.
2. An alpha reader is just someone who reads your first draft and validates that A) you’re telling the story you meant to tell, and B) it’s a story worth reading. You’re ready for this when your first draft is clean.
3. An assessment or evaluation is very important, especially for long stories or stories that will be told in multiple installments. You’re ready for this when you’re confident you have the skeleton built.
4. Beta readers are essential, and you might get this done at the same time as the assessment. You’re ready for this when you’re on a second draft using others’ feedback.
5. If your betas think your manuscript is confusing, you need a developmental edit.
6. A copy and line edit should be prioritized if at all possible. You’re ready for this when you’re done making story changes.
7. Proofreading is essential. You’re ready for this when all other editing is done.

In the coming articles, we’ll be addressing more of the most frequently asked editing questions from new (overwhelmed) independent authors.

• Where do I get alpha/beta readers?
• How do I find an editor anyway?
• I’m scared for people to read my work.
• I can’t afford any of this!

~Allison of Sigmon Editorial

From idea to ISBN, Sigmon Editorial’s got your back.

Congratulations! Your hard work has resulted in a manuscript, and you’re ready to share it with the world. You probably fall into one of two camps right now.

• You’re so excited that you’re done, and you’re ready to hit submit! You’ve been writing and researching for months, or even years, and you’re confident in your work. You give yourself five stars, and you can’t wait to see everyone you know agree.
• You’re stressed that you’re done with the initial manuscript, because what do you do now? You’ve heard big words like “queries” and “copyrights,” and you’re pretty sure you’re supposed to hire an editor. You almost wish you were still writing; at least you know how to do that.

Either way, take a breath and celebrate your hard work so far. This is a huge accomplishment! There are lots of steps to go, but they’re not as difficult as you may be fearing. Second things second (the first was celebrating)—getting the necessary information so your upcoming decisions are informed.

You might associate the word “editing” with the phrase “kill your darlings,” or maybe you dread the price tag on a professional edit. You’re not alone. Many writers balk at editing and choose to either edit their work themselves or pay a bare minimum to their cousin’s nephew.

The good news is, editing is not for ripping your writing into pieces against your will, nor is it for draining your wallet. A good editor will cooperate with you to make your manuscript the best it can be while preserving your vision, and there are many ways to make the process more affordable.

There are many stages of editing. After evaluating the types of edits and your current manuscript, you will be better suited to choose what’s right for you.

Self-Editing

Self-editing comes before everything else. For readers to understand your story, some basic housekeeping needs to be done first. At minimum, make sure your spelling is (mostly) correct, you’ve used punctuation (including quotation marks around dialogue), everything is split into paragraphs (you need a new one every time someone new speaks!), and you’re consistently in past or present tense from the same character’s point of view. You’re not trying to cross every T, just making sure the writing is good enough that it doesn’t hinder the story.

Alpha Reader

An alpha reader is not an editor, but someone who reads your story very early in the writing process. They’re your first audience and will give you big-picture feedback on whether the story makes sense, if the characters are believable, and if anything is confusing. This is like story validation—your alpha reader will help you understand whether you’re telling the story you meant to tell and whether readers will enjoy it.

Manuscript Evaluation

Also called story critique, manuscript assessment, and editorial assessment, an evaluation is a multi-page report on major story elements like your plot, pacing, structuring, characters, dialogue, and more. It doesn’t include in-document changes, but is a separate developmental-level document to help you figure out what needs to be changed.

Beta Readers

A beta reader is not an editor, but represents an average reader who will tell you what they think worked and what didn’t. Much like an alpha reader, they’ll give big-picture feedback, but slightly more zoomed in. Where an alpha read assumes the story is going to change significantly, beta reading focuses on plot holes (etc.) that are still large-scale issues but won’t override the whole manuscript.

Developmental Edit

A developmental edit suggests changes in the structure and narrative of a manuscript. Your editor will look for genre conventions, story logic, organization and restructuring, character arcs, and emotional payoff. Changes will be made in-line for scene-level edits, as well as a chapter-by-chapter report that addresses pacing and flow, as well as plot and character development.

Line Edit

After the story is complete and solid, a line editor will help make sure your writing is effective, sharp, and clear. Your editor will work with word choice and syntax, tone, consistency, and reorganize phrases to make your manuscript smoother and more consistent. Where previous stages have made sure the story is engaging, line editing makes sure the writing is engaging.

Copy Edit

Copy editing works to perfect your language technically. In this stage, errors in spelling, grammar, and punctuation will be corrected, along with stylistic consistency and tense usage. If you’ve used written numbers in some places and spelled them out in others, your copy editor will fix it.

Proofread

After all other editing, proofreaders focus on technicalities such as sentence fragments, comma splices, typos, and all other word-by-word edits that have thus far slipped through the cracks.

Whew! That seems like a lot, but not every manuscript needs every type of editing, and many editors offer multiple services in a single package. For example, copy and line editing are commonly done in the same pass. In the coming articles, we’ll be addressing some of the most frequently asked editing questions from new (overwhelmed) independent authors.

• How do I know what type of editing I need?
• Where do I get beta readers?
• How do I find an editor anyway?
• I’m scared for people to read my work.
• I can’t afford any of this!

~Allison of Sigmon Editorial

From idea to ISBN, Sigmon Editorial’s got your back.