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Looseleaf Manuscript Evaluations & Critiques

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This week I’m going to look at each of Looseleaf’s editorial services and tell you what they are, when you need them, and some tricks you can use to do some editing yourself before you hire it out. I’ll post about one service a day, in the order a manuscript typically undergoes them in a full publishing process. That means today is manuscript evaluation day.

What Is a Manuscript Evaluation?

Manuscript Critique ScalesWhen I evaluate a manuscript, I read the whole thing in as few sittings as I can manage. This allows me to look at how the book functions as a whole: the plot arcs, the character arcs, the promises the writer made at the beginning, whether or not those promises paid off in the end, etc. I look at repetitive quirks the writing has (do you always use –ing phrases?), consistency in the dialogue, and anything else I can think of.

I do not edit grammar (though if there is a grammatical error the author consistently makes I’ll make a note of it), I don’t consider whether single sentences might be better placed differently, and I don’t tighten the wording. All that is for later, more fine-tuned editing. Manuscript evaluations are for grasping the big picture and making judgment calls about it.

When I’m done reading and making notes to myself, I write up a multi-paged letter (the length depends on the length and quality of the manuscript I’m evaluating) in which I discuss things that work well, things that don’t, recommendations, and cautions about where you need to be careful about the fixes you employ.

When Does a Manuscript Need an Evaluation?

There are three times when you might want a manuscript evaluation: early, late, and in a special case.

Early. If you’ve finished your manuscript and you’re about to dig in and do heavy revisions, you might want a manuscript evaluation to give you some guidance. A manuscript evaluation will point out the things you should keep and the things that need tweaking, so that editor letter can come in handy as a road map for getting started.

Late. If you’ve been querying and submitting and people are asking for your partial or full manuscript, but ultimately they’re passing, you might consider a manuscript evaluation to figure out why. Sometimes you won’t get detailed feedback from the people you’re querying; you will get it from me. This can help you hone a manuscript and get it past a brick wall.

Special Case. If you have something specific you want to do with your manuscript, but you’re not sure how, a manuscript evaluation can again give you the road map. Maybe you need to cut a substantial amount from your manuscript but you’re too close to the work to see what can and should be cut. Maybe you’re trying to popularize a scholarly work for a general audience and you’re not sure if what you’re doing is effective. Whatever the special case may be, announce that purpose in your request for a manuscript evaluation and I can focus on that purpose in your editor letter.

How Can Authors Evaluate Their Own Manuscripts?

If you’re early in your revision process, you may choose to evaluate your manuscript yourself or use free alpha or beta readers. When you’re doing evaluations, keep a few questions present in your mind:

  • Who is your audience? Are you communicating to that audience?
  • What insights are you communicating? Do you communicate them well?
  • Does your tone change a lot over the course of the manuscript, or in unpleasantly unexpected ways?
  • Are your characters flat stereotypes or fleshed-out people? Are they consistent and competent? Are their arcs believable?
  • Is the dialogue didactic or stilted? Does it feel organic and unique to each character?
  • If you’re writing informative nonfiction, is the takeaway explicitly linked to what you’re saying, and is it apparent what you want the reader to take away? (This is also relevant to fiction and creative nonfiction, but subtlety is more advised in those genres.)
  • Are there any sentence constructions or errors that are repeatedly problematic?
  • Are there any lapses in logic or plot holes?
  • What is your theme? Is the theme present throughout? Is that theme useful to your target audience?

More questions will likely apply to your manuscript, and you’ll have things you want to ask yourself throughout based on your individual story or purpose. But these basics can get you started in the right direction. As always, the more objective you or your beta reader can be, the closer you’ll come to an editorial opinion.

Other Editorial Services

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The Looseleaf Editorial Philosophy

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Looseleaf Freelance EditingEvery writer works differently—there are a lot of similarities between many writers, but no two work the same way or come up with the same end products. Similarly, every editor works a little differently. Even when it comes to copyediting, different editors do things differently. When you, as a writer, are looking for a freelance editor to help you with your work, it’s important that you find one that fits you.

In the spirit of giving you all the information you need, allow me to give you a rundown of the Looseleaf editorial philosophy. There are three main principles: editors exist to help writers be better writers, words need to communicate to and capture a reader, and books belong to their writers.

Editors Exist to Help Writers Be Better Writers

There are some services out there that exist to help make books better. However, Looseleaf isn’t about taking a manuscript and making it into an awesome book. It’s about working with a writer on a manuscript to help make that writer a better writer. The manuscript will become a better book as a result, have no doubt about that, but my primary focus as an editor is to help writers do what they want to do, only better.

This means that when it comes to changes bigger than commas or colons, I’ll be writing comments to you, the author, so you can understand why I thought a change was necessary and why what I did fixes the issue. I’ll expect that if you don’t understand my comment (or if I made a change you don’t understand because I forgot to comment on it) you’ll ask me to explain myself. I expect to be available for questions during and after an edit.

If you want to hand your manuscript over, have it polished, primped, primed, and packaged into perfection by someone else, Looseleaf may not be for you. Make no mistake: I’ll be digging in and doing as much tinkering, tweaking, and fixing as I can to make your vision a reality. As it says on the Looseleaf home page, “We’ll help you achieve the clarity, credibility, and style you need to reach your audience.” But my primary goal will be to help you be better, not just your book.

Words Need to Communicate to and Capture a Reader

Looseleaf editing is very reader-centric. If there’s something you like to do in your writing that isn’t strictly correct but will still communicate and carry your credibility to a reader, I’m not going to touch it. If it’s something that will make a reader think you don’t know what you’re doing, or that will force the reader to read your words more than once to understand them, I’m going to recommend a change.

This means that many “rules” are flexible. For a hyper-formal, scholarly audience, I might recommend that you don’t split your infinitives (i.e., “to boldly go” would be changed to “to go boldly”); in a young adult novel, I won’t touch your slang unless it’s so heavy I think it will make your book sound dated in two or three years, or that you won’t be able to get any crossover audiences with it. I will always be considering your reader, not just the rule book.

Books Belong to their Writers

Some writers fear editors: this minority considers editors to be a group of people who meddle with a creative individual’s work and take it away from the creative source and beauty it originally had. However, I subscribe to the mentality described by legendary editor Maxwell Perkins:

I believe the writer … should always be the final judge. I have always held to that position and have sometimes seen books hurt thereby, but at least as often helped. The book belongs to the author.

Everything I do to or suggest for a manuscript exists to help you and the reader communicate more effectively. You have ideas you want to communicate; your reader wants to engage with and receive those ideas. I will make suggestions and explain the reasoning behind them; I’ll tell you why they should be made. But the final decisions always belong to you. Because you’re the one with something to say; I’m just here to help you let that idea loose.

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Before You Hire an Editor, Know What You Need

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Before you hire a freelance editor, you need to decide what type of editing you want right now. It’s also good to know what types of editing you’re going to want in the future; sometimes you can work with the same editor through the whole project, or you can at least work with people your editor refers you to.

You need to know what type of editing you need because editors are not wizards. You can’t take a book you think isn’t quite there, hand it off to an editor, and get it magicked into complete perfection. Editors can help you improve your writing and hone your craft, but they can’t force absolute quality on you (even if they could, it wouldn’t really be your book afterward). The clearer you can be about the type of help you want, the better an editor can help you. An editor cannot effectively edit everything from commas to character arcs all in one go. That takes multiple passes over a manuscript, and you, the author, should be revising after each pass to make sure the piece stays true to what you want it to be.

Writing a story or nonfiction piece means creating a path from beginning to end, and ideally that path will have scenic vistas along the way. Editing involves trying to make that path clear and enjoyable for your reader. If you take the path-making metaphor a bit farther, you’ll understand why you can’t have someone do story-level developmental editing and sentence-level copyediting at the same time. You don’t hire a lumberjack to pull weeds; you don’t hire a golf-course manicurist to move massive boulders. Understand the task you want to hire out so you can hire the right person.

Developmental Editing (Story Editing)

Developmental editing is large-scale editing. In this type of editing the editor makes sure there are no redwoods blocking the path you’re trying to create for the reader. It also includes pointing out any opportunities you may have missed. Perhaps you could have pulled more tension out of a character’s relationship; maybe you ignored an argument your opponents will make; then again, maybe you just have a big plot hole or lapse in logic. A developmental edit involves multiple editorial passes and a lot of editor–author interaction to hone and develop your plot or argument, tone, characterization, and more. This is the lumberjack-and-boulder-removal level of editing. If a developmental editor also tried to do copyediting along the way, he or she could easily miss some uncharacteristic dialogue because he or she was more focused on the punctuation of a nonrestrictive clause.

Learn more about developmental editing from this Looseleaf blog post. Another editing service that is related to developmental editing is the manuscript evaluation or critique.

Substantive Editing (Line Editing)

Substantive editing goes into more fine-tuning than moving boulders: it’s more like clearing the path of hedges and shrubbery and making sure it’s as direct as possible. Substantive edits cover organization, logical flow, word choice, internal consistency, and more. It can go as big as reordering paragraphs and as fine as tweaking a word to sustain your tone. Often a substantive edit can include a lot of copyediting because it is more sentence- and word-based than developmental editing. However, it should not be confused with a true copyedit. Substantive editing involves a lot of tweaking, reordering, and decision-making from the author. By the time the edit is done you’ll have changed a lot of text, and any time you make lots of changes you need to go back and make sure the details of those changes are clear.

Learn more about substantive editing from this Looseleaf blog post.

Copyediting

Copyediting looks at the potholes and pebbles along a manuscript’s path. The editor shifts word and punctuation debris so readers won’t twist their ankles while enjoying your story. Everything gets edited for grammar, spelling, punctuation, style, consistency, and adherence to your chosen citation format (this could be everything from the color of your characters’ eyes to how you capitalize certain words and phrases). Sometimes copyediting isn’t necessarily a right-or-wrong type of thing. There are some language scenarios in which you’ll have more that one option. It’s a copyeditor’s job to make sure you remain consistent in which option you choose.

Learn more about copyediting from this Looseleaf blog post.

Proofreading

Proofreading is a lot like copyediting in that it’s concerned with potholes and pebbles. However, a proofread is performed on the final version of a publication. It should always be done by someone who hasn’t previously edited your work (Looseleaf uses some trusted subcontractors to do the proofreading on projects I’ve already edited). The proofreader catches last-minute errors and items that you, the author, would change yourself if you had your attention drawn to them. Proofreaders also catch formatting errors like over-spaced lines, misplaced hyphens, widows and orphans, word stacks, and inconsistent typeface use. Anything that will disrupt the reader’s final experience gets caught during proofreading.

Learn more about proofreading from this Looseleaf blog post.

An Editorial Relationship

If you want a long-term working relationship with a particular editor, make sure you can get all the types of editing you’re going to need from that editor or from professional acquaintances of that editor. By working with one individual or a collection of close contacts, you’ll be better able to retain your vision and voice across the different stages of editing. For example, when I hire out final proofreading on projects I’ve edited, I review the proofreader’s changes to make sure they don’t go back on anything the author and I have previously talked about. This helps retain the author’s intentions and goals for the project.

Before you hire, know what you want. You’ll be happier with your final product and you’ll save a lot of negotiation with your editor if you can articulate what it is you want him or her to do.

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