An Editor's Checklist—What Does a Line and Copy Editor Look For?
Get a peek into an editor's mind!
Hey, friends, Emily Deaton, editor and book coach, here for another Behind the Publisher’s Pen post!
Have you ever wondered what an editor is thinking when reviewing a manuscript? Today, I wanted to talk about what the editing process looks like from my perspective as an editor.
While I've done developmental editing, copy editing, line editing, and proofreading, today, we're talking about line editing and copy editing.
I should note that the terms "copy editing" and "line editing" are often used somewhat interchangeably; often, when clients say they want a copy edit, they really want a line edit. As Jane Friedman notes on her blog about the types of editing, "Rarely does a manuscript need 'just' a copy edit." To be clear, this isn't a bad thing! It just means that we're humans, and even the best writers benefit from working with an editor.
What's the difference between line and copy editing? In short, a line edit is typically more thorough; a copy edit is focused primarily on the mechanics of the manuscript (the placement of commas, fixing typos and grammar mistakes, etc.), and a line edit looks at each sentence and paragraph, checking for inaccuracies or inconsistencies and ensuring everything flows smoothly and is clear and concise.
Every editor has their own style, but I aim to provide edits that are honest and respectful of the author's work. Every edit I make is in hopes of helping the writer improve their work, but whether a writer chooses to implement those edits is ultimately their call.
Typically, our clients require both line and copy edits, so we combine them. If needed, we'll work on developmental edits first, but after that comes the line and copy editing.
So, let's talk about what I look for when I'm editing a book. While this isn't an exhaustive list, I've tried to cover the major things I check for when doing a copy/line combination edit.
Fix typos and improper grammar, ensure the manuscript adheres to the Chicago Manual of Style*, and perform basic formatting (which includes breaking up paragraphs that are too long and removing extra spaces between sentences).
Ensure the syntax is purposeful and clear while supporting the pacing and mood of the scenes. (An action scene might have short, choppy sentences to enhance the feeling of suspense, whereas a scene that's intended to feel calm may flow more smoothly.)
Review chapter titles, subheadings, section names, bullet points, and lists for consistency in formatting and naming.
Suggest cutting unnecessary text and rewording awkward-sounding or run-on sentences. (When I do this, I explain why I'm making these suggestions in my comments.)
Make sure the perspective and tenses are consistent throughout the manuscript.
Check that the characters' names are spelled the same way throughout and highlight any changes that shouldn't be there or don't make sense (for instance, if John has a scar on his left hand but it later appears on his right hand).
Point out repeated or vague words and suggest alternatives.
Check for homophones and make corrections where needed.
Fact-check names, dates, locations, and pertinent events.
Note transitions that feel choppy or abrupt.
Highlight areas where a source is needed or cited improperly.
Format citations appropriately.
Review "extras," including the table of contents, the dedication, introduction, epilogue, acknowledgments, and the about the author section.
*In some instances, clients will prefer not to adhere to certain rules set forth by the Chicago Manual of Style; it's important as an editor to know how to differentiate between stylistic choices and mistakes.
What does this look like in practice?
Let's take a look at how I'd respond to a paragraph of writing when doing a line edit and copy edit combo. (Note that this is just a made-up example.)