If you’re a seasoned author who has published a few books, you may have a clear writing voice and style and little need for line editing.

You might, however, suffer from problematic punctuation or shaky spelling.

In that case, you need Copy Editing.

Copy editing only focuses on the rightness of what appears on the page, the “copy” as they say in newspaper-speak. It corrects and standardizes grammar, spelling, punctuation, and formatting while catching missing or extra elements.

Copy editing ensures word, line, and space is just right before your work heads into the next phase of publishing.

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YOUR MANUSCRIPT NEEDS COPY EDITING

• If it has never had copy editing or proofreading; or
• If you’re catching errors as you read through it.

 COPY EDITING INCLUDES

• Line-by-line correction of issues with grammar, punctuation, spelling, formatting, typos, and missing, incorrect, and/or extra words;
• In-line comments, questions, and suggestions (if needed); and
• A style sheet outlining grammatical, spelling, punctuation, formatting, and other choices.

 COPY EDITING DOES NOT INCLUDE

• Feedback on the manuscript’s content unless related to changes in the included areas; or
• Feedback on/changes to the manuscript’s clarity, tone, flow, diction, or syntax unless related to the included areas.

Despite being taught to “write what they know,” more and more writers recognize the value of writing about who and what they don’t know. This can be especially impactful (and challenging) when writers include characters from marginalized groups they’re not a part of—that is, when a white writer includes a Black character or a neurotypical writer includes an autistic character.

If you choose to do that, your editing process should include a step where someone can catch the biases, stereotypes, or inaccuracies that may seep into that character’s role and representation in your book.

That step is Sensitivity Reading, and it’s crucial.

Of course, no group of people is a monolith, so no single character could—or should be expected to—represent the range and diversity within their own group.

That said, your Black, fat, or autistic characters should feel conscientiously crafted to be their layered, unique selves with relatable goals, fears, and wants wrapped in a package authentic to them as individuals and as a member of their group.

In nonfiction or narrative sections of a fictional story, the writing itself should be free of outdated, inflammatory, or otherwise problematic language, imagery, or beliefs, except in cases where such things are mentioned and deemed wrong.

Sensitivity reading ensures all of the above occurs in a way that is clear on the page.

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YOUR MANUSCRIPT NEEDS SENSITIVITY READING

• If you’re writing about a culture, people, group, or topic you are not a part of;
• If you’re concerned you may have missed something along those lines; or
• If you’re getting negative or concerned comments about how your work includes or represents a different culture, group, people, or topic.

SENSITIVITY READING INCLUDES

• One full read-through of your manuscript;
• Feedback and suggestions on the areas of concern you mention in your Sensitivity Read Questionnaire;
• In-line comments;
• A brief editorial letter about those areas; and
• An optional post-read call to discuss the feedback.

SENSITIVITY READING DOES NOT INCLUDE

• Any changes to the manuscript; or
• Feedback or suggestions on areas not mentioned in the Sensitivity Read Questionnaire.

Sometimes you just want to know where your manuscript stands. Is it solid or shaky? Nearly there or way off the mark? Should you keep going with this idea or switch to something else?

A Manuscript Evaluation can answer these questions by doing two things:

• It states how well your project aligns with expectations of your chosen genre(s)—that is, does your cozy mystery have the elements expected of a cozy mystery?
• It suggests which edits your manuscript needs—developmental editing, line + copy editing, copy editing, and/or manuscript evaluation—and indicates why.

A manuscript evaluation reveals the areas of your project needing attention, so you can reconsider, revise, or rewrite them accordingly.

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YOUR MANUSCRIPT NEEDS AN EVALUATION

• If you’re just not sure about it;
• If you haven’t had any professional feedback yet;
• If this is your first book; or
• If you’re getting mixed feedback from those who have read it.

A MANUSCRIPT EVALUATION INCLUDES

• One full read-through of your manuscript;
• An indication of how your manuscript aligns with genre expectations;
• A checklist suggesting which editing services are needed with a brief explanation of why; 
• A 30-minute post-evaluation call to discuss next steps; and
• A 15-percent discount on your first editing service.

A MANUSCRIPT EVALUATION DOES NOT INCLUDE

• Feedback or suggestions on specific parts of the manuscript;
• Any changes to the manuscript;
• Inline comments on the manuscript; or
• An editorial letter.

Writing can be a lonely endeavor. You plan alone, research alone, and write alone, often having no one to talk to about your project but you.

You need another perspective.

A Project Consultation provides that perspective and feedback, so your project can move forward. Whether you’re working on an outline, your fifth draft, or something in between, a project consultation will ensure you know exactly what to do next.

YOU NEED A PROJECT CONSULTATION

• If you don’t know how to approach your book;
• If you’re confused or uncertain about what to do next;
• If you have too many ideas; or
• If you want a clear plan before you start writing.

A PROJECT CONSULTATION INCLUDES

• A Pre-Consultation Form specifying your three concerns/questions;
• A 30- or 60-minute phone call covering those concerns/questions; and
• A post-call email summary including solutions and next steps.

A PROJECT CONSULTATION DOES NOT INCLUDE

• Any reading or evaluation of your work