Editorial Philosophy
Curiosity is, in my opinion, a powerful tool for editors. Curiosity inhibits the fear to ask questions and dig deep into something new. It helps us find new ways to understand what we are looking at. An editor needs to be able to inspect something as small as a comma and figure out if it’s being used correctly, but editors also need to be able to look at the big picture and ask big questions of the characters, plot, the thesis, etc. I like to use curiosity to push for answers, to not be afraid of asking the necessary questions, and to reach for a deeper understanding of the work I am editing.
With each new project I approach, I do so with as much curiosity as I can. This has driven my editorial career since it began. In and out of editing, I spend a lot of time looking at the how and why of whatever I happen to be focusing on—whether it’s starting a new hobby or assessing the usage of a semicolon. I believe that my curiosity makes me a well-rounded editor.
Before starting to look at a piece of work, I like to prepare myself by understanding the work and the author’s vision. Taking the time to create an open and perceptive professional relationship with an author allows for information to be freely shared, which helps me ensure I can help realize an author’s goals. I always like to be upfront and open about expectations for both parties, which helps create a solid foundation for working together well.
I think it’s valuable to put good books into the world, so if I can help an author with creating a good book, I am satisfied. I work continuously to ensure I am able to work on all sorts of new works—from participating in seminars to studying grammar independently, I am always trying to improve upon the quality of edits I can give.
Editing is an important part of putting work into the world confidently. There are many different types of editing and so many more ways to edit a single piece of writing. Navigating the various paths your work can be tedious on your own, as an editor, I can help guide your travels.
Editorial
Services
Copy Editing
Copy editing is typically done after all the big structural changes have been made to a piece. It focuses on the littlest details in a written work—punctuation, spelling, diction, and other similar grammatical issues. Depending on the state of a work, feedback may include (but is certainly not limited to) comma usage, highlighting incorrect homonyms (ex. too, to, or two), suggesting synonyms, ensuring consistent spelling, and identifying awkward sentences.
Proofreading
Proofreading is the final act of editing before a work is published. Proofreading can come in the form of suggestions directly in the document, comments on the document, or an itemized list in a new document. These typically identify minor copy edits (spelling and homonyms are the main ones), formatting issues (missing or incorrect page numbers, consistent chapter numbers/names, etc.), and/or issues with front, back, and inner covers. Some other examples include ensuring the table of contents is consistent with the rest of the document, adjusting images, figures, or tables to the correct standard, and making sure pages are in the correct order. It is best to have a work proofread by as many eyes as possible to ensure a high quality finished product.
Reader's Reports
Reader’s reports are different from the three main types of edits because they don’t focus as much on proposing changes but instead analyze the work as it is and identify potential issues without suggesting ways to change it. Reader’s reports are typically done by an employee working at a publishing house, but they are also helpful for writers before submitting work to a publisher, or for writers who are getting ready to self-publish. These are useful for writers to see if the content of a piece is landing the way they want it to, and because a fresh pair of eyes can be helpful in identifying things that they may have forgotten about (like including necessary information a reader needs to understand something, or accidentally omitting an entire event). These are also useful in identifying themes and similar titles, which is information that an author typically needs when pitching/submitting a book to a publishing house or when self-publishing their work.
Stylistic/Line Editing
Line editing and stylistic editing are typically used interchangeably depending on the type or form of the work. This type of editing is used to ensure consistency of voice and identify potential problems that are related to plot but not as big as structural or substantive edits. These edits typically come in the form of comments on a document, highlighting individual sentences that may need the author’s attention to fit more comfortably within the big picture. Some examples of stylistic edits include identifying out-of-character dialogue, tense issues (does the piece switch between past, present, or future tenses in odd places?), identifying missing sources or citations (in the case of non-fiction works), or even highlighting parts of the work that are done well so the author may use it to their advantage.
Substantive/Structural Editing
Like line editing and stylistic editing, substantive and structural editing are also used interchangeably depending on the type or form of the work being edited. These edits typically come in a mixed form of comments directly on the document and a letter at the end highlighting a summary of proposed changes. These edits can be as large as rearranging entire chapters or events within a story, or as small as adjusting paragraphs within a portion of the work to ensure clarity. Some examples of suggestions during this process include outlining potential plot holes (in the case of fictional works), identifying missing explanations within arguments (in the case of academic works), suggesting changes in how information is fed to the audience, and identifying missing or forgotten ‘ends’ within the work.