Reasons to Love Developmental Editing

By Martha Carlson

Developmental editing of fiction is work that brings me joy. Writers come to me with questions and uncertainty, and I use my experience, education, and training to bring them clarity and to recharge their enthusiasm for revising their work. I love hearing clients respond to my editing by saying “I have a sense of direction now” or “I have so many new ideas for this book.”

As a developmental editor, I consider how well every aspect of the work serves the narrative as a whole. These aspects include plot, pacing, point of view, character development, dialogue, time structure, setting or sense of place, individual scenes, and so on. (This kind of editing is sometimes called “substantive” editing.) I am not “copyediting” or “proofreading,” that is, making publishing conventions consistent and focusing on correcting grammar and punctuation mistakes. I am also not “coaching,” as in brainstorming with the writer about ideas for a book and guiding each drafting and revising session.

In contrast, my work as a developmental editor begins when I receive the client’s completed manuscript. This manuscript should be revised enough for the writer to have a sense of the book’s direction and their own intentions. It’s OK for the writer to have some doubts. A writer might ask “Is the multiple point of view in the second half of the book working?” or “Is the ending of the novel too open-ended?” or even “This doesn’t seem compelling enough. What do you think it needs?” I may identify additional issues as well, but knowing the writer’s main concerns at the outset helps the editing process. Then I review the work page by page, offering feedback and advice in a detailed “editorial letter” and in track changes in the manuscript. 

Developmental editing helps writers 

• appreciate what they have already achieved 
• identify the source of that frustrating “it doesn’t seem to be working yet” feeling
• recognize the options they have for revision
• feel excited about diving back into the work
• decide if their work is ready to be submitted to publishers or agents 

As a developmental editor, I like to note what the writer has already achieved. Is the narrative voice especially compelling? Does the plot have interesting twists? Does the ending feel both surprising and inevitable? Editing isn’t a fault-finding mission but a process that helps writers build upon their strengths, not only for the current manuscript, but also for their future projects.

When I comment on what would benefit from revision, I’m careful to take the writer’s level of experience into account. A very experienced writer might need only a brief marginal comment like “Whose POV? Tom can’t see the table from the car,” while a less experienced writer might also appreciate a discussion in the editorial letter about various ways of transitioning between different points of view. I’m also careful to offer specific suggestions as examples of what is possible in revision, not to dictate a single path to “fixing” the manuscript. I’m not hired to “fix” the manuscript as if it were my own; I’m hired to suggest options so that the writer can decide how to best revise their own work. 

Why would you hire a developmental editor instead of seeking beta readers or a writers’ group? These readers can offer valuable insights into your work. But the assistance beta readers and writers’ groups can offer is limited by how much experience they have and how much time they have to devote to your work. Editing my client’s work doesn’t compete with my day job — it is my day job, and I schedule plenty of time to devote to commenting on the work in detail. For a full developmental editing pass, for example, I write a detailed editorial letter of 5,000 to 8,000 words or more, plus edits and comments on the manuscript in track changes. This is the kind of detailed feedback I often longed for as a writer, and I aim to give my client the same level of detail and care I would want for my own work.

When choosing a developmental editor, consider the editor’s specialties. I edit literary fiction and sometimes upmarket fiction, both of which emphasize character- and voice-driven stories and close attention to craft. Many editors specialize in particular genres, such as romance or fantasy, or work with particular communities of writers, such as people of color or LGBTQ writers. Both ACES and the Editorial Freelancers Association offer searchable directories of freelance editors.

To find an editor, read through directory profiles and the editors’ websites. If an editor looks promising, query them and arrange either a phone call or a Zoom meeting — which will give you a sense of what the editor is like in person and whether you can see yourself working with them. The editor should also ask questions about your intended audience and your artistic and publishing goals.

Being trusted to edit my clients’ manuscripts is an honor I take seriously. I follow up the editorial letter and edits with a Zoom consultation, which allows the writer and me to brainstorm additional ideas for moving the book forward. It’s always an upbeat conversation — and one of the perks of the job.

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Bio: Martha Carlson loves reading, writing, and editing books. Specializing in literary and upmarket fiction, she has been a developmental editor for several years. She earned a PhD in British and American Literature from UNC-Chapel Hill and an MFA in Creative Writing from Warren Wilson College. To learn more about her editing services or to contact Martha, visit https://marthacarlsoneditor.com/.

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