The question I’m always asking is: how can we structure the book to aid the reader?

Editing can appear mysterious or opaque at times, so I thought, why not share how I do what I do? This article looks at developmental editing and how I approach it as an editor of gay fiction.

When working on queer fiction at the structural level, I see myself as a guide, a mentor, a second brain, a provider of tough love, and/or a shoulder to cry on.

Each and every author and manuscript is different, but the goal remains the same: to help shape your book into the best version it can be.

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Goals. My first stop on the editing track is to establish with the author what they are hoping to get from working with me.

My preferred method is to use a written survey because I think it allows the author time to process and think over what they want to say and how best to plan their response to the questions.

Sometimes, I’ll meet with you on Zoom because some authors prefer to talk through their ideas face-to-face. I’m looking out for aspects of genre, audience, and voice, as well as where the author sees the book selling.

Genre expectations refer to the unique traits and reader expectations for the manuscript, and it’s more than simply the plot.

Character archetypes, tropes, patterns of speech, pacing, settings, theme, and word count all come into play and help me see if those authorial intentions are present in the manuscript.

A broad understanding of these, and ensuring your aims are on the page, can help future marketing efforts and decisions on where to place your book once it’s ready for publication.

Voice is important in two ways.

First, the author’s voice must be strong and consistent throughout the manuscript. Part of what I can do is identify where the voice seems to be lacking.

Second, for those looking into traditional publishing, the publisher’s voice and a knowledge of what they “sound” like is important to be aware of.

Within LGBTQ+ fiction, romance, mystery, and thriller, I spend time getting to know and understand the different requirements that publishers have. I (and nobody, really) can predict if a book will secure an agent and be traditionally published, so it’s worth ensuring the book presents itself with a clear voice; this will keep your readers coming back for more.

For self-publishing authors, I look at voice within the manuscript and then across a series, if that is the case. Your voice is what readers love about your books besides the engaging characters, vivid settings, and powerful plots. No two authors share the same voice, and making sure your voice shines through is one of my top priorities.

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First pass: I’m reading with an open mind and looking for patterns and traits that help me ensure your idea of the genre aligns with what’s on the manuscript. I make notes on everything, but I am also taking in the story as a reader would.

Are the chapters well-paced and pulling me to turn the page?

Do I feel the intended emotions towards the characters?

Does the story start and end where it should?

I am a lover of handwritten notes and work with one eye on the screen and one eye on a pad of paper while I read.

Second pass: I’m looking at chapters and page numbers and beginning to put together the crucial information for the Editorial Letter. This 12+ page document covers all areas of the developmental edit and provides thoughts, suggestions, comments, and opinions on what the author can consider doing once they receive my feedback.

This pass can take two to three times longer than the first pass because pages are being read multiple times.

Plot: Timing, direction, and logic. Is the plot moving forward, and are the pieces of the puzzle coming together?

Is the sequencing of the plot logical?

Is the ordering serving the plot, or could alternative orderings be considered?

Conflict: Internal and external conflict.

What’s standing in the character’s way and preventing them from achieving their goals?

Is the solution something of their own doing? Can the stakes be raised without going overboard?

Setting: The setting can be a character in its own right.

Are the settings well-developed, suitable for the action happening, and presented with enough information to engage the reader but not overwhelm them?

I look at how much time is spent in locations and how time is dealt with between locations and scenes.

Is the setting serving the story? Is the world-building balanced?

Character: Are they presenting as humans (or beings) that the reader can connect with, relate to, or see elements of themselves in?

Do they have distinct voices, and are their characters clear from what they say, think, or how they act?

A key concern: Are the character goals, motivations, and conflict (GMC) present and dealt with to a satisfying level?

Are we invested in the characters, and do we see them making steps towards where they need to go?

Pacing: Thrillers move at breakneck speed, and romance moves slowly. Often, this is the case, but not necessarily all the time.

Part of analysing the pacing involves checking whether there is balance and variety throughout the manuscript to keep the reader engaged.

Dialogue: Is the dialogue exposing necessary information, conveying the GMC of the characters, or moving the story forward? If not, I will suggest rephrasing, omitting, or considering why it is there.

The bulk of the feedback stems from those areas, but that’s not everything. Point of view, believability, theme/premise, style, and word choice are also considered.

Finally, spelling, punctuation, and grammar are commented on when recurring issues present themselves.

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For me, the story synopsis and author goals help formulate the direction to take and how to provide suggestions to help you get there. My certificates and courses from UCLA Extension, Club Ed, the EFA, and the CIEP have all provided valuable support and structure for me in training to be a developmental editor and advocate for LGBTQ+ authors and fiction.

I hope this brief introduction to my role as a developmental editor has been illuminating, and should you wish to discuss anything raised, please do not hesitate to get in touch.

Keep on writing!

Always happy to chat about your upcoming project, so don’t hesitate to reach out or book your Ideal Story Session! 

Image by Richard Duijnstee from Pixabay