The Stoplight Method for Revision, Part III: Green Light Issues
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Finally, we come to dealing with Green Light issues in your draft! For the past two weeks, I’ve talked about Red Light issues (the big-picture, foundational changes you need to make) and Yellow Light issues (the somewhat complex but more manageable issues you need to resolve). Now you’re ready to deal with the stuff that will really make your manuscript shine. And if you’re thinking of hiring an editor or book coach to help with some of this stuff, read on!
Green Light issues include:
Checking for spelling and grammatical errors
Checking for tense alignment
Trimming adjectives and adverbs (hint: if you use an adverb, you could often choose a better verb instead)
Getting rid of filler words like “that, just, so, very, really” etc.
Tightening dialogue, action, and descriptive passages
Eliminating weak verbs (like was, were) and changing them to something stronger
Creating better sentence flow by making sure the lengths of sentences are varied, and two words don’t appear twice too close together. Eliminate overused phrases and clichés
Making sure the time is clear in each scene – both in relation to what came before, as well as the time of day (ground the reader in time)
Final formatting – 12 pt font, Times New Roman, double-spaced, 1.25” margins, page numbers, chapter headings
While all this seems easy, it can be tedious. Going over literally every page and scanning for these things can take a while. Of course, here not only your computer’s spelling and grammar check but also your find-and-replace function is your best friend. You can ask it to search for specific filler words, for example. (And then be shocked by how many times you’ve used “that” or “just.”)
It requires patience, and an eye for detail. Also, by this point you’ve read the manuscript so many times your eyes may just glaze over these kinds of mistakes. But don’t skip this step, especially if you’re self-publishing! I, and many others I know, find a book riddled with easily fixed errors like these to be unreadable. After taking the time to write a whole book, there’s really no excuse not to take the time to make it as polished and professional as possible.
If line editing and proofreading really aren’t your jam, then it’s time to hire a professional. In fact, you can hire a professional editor at any stage of the revision process – as long as you know what you need from them, and what they offer. Different editors do different things, and it’s crucial to know the difference, or you’ll waste a lot of money.
Different kinds of editors, and what they do:
Developmental Editor – reads the whole manuscript and does a big-picture edit. This will mainly involve Red Light issues, but may also include some Yellow Light issues. Generally gives comprehensive feedback but no line edits on the manuscript itself. Then it’s up to you to execute the changes (if you agree they’re needed).
Line Editor or Copy Editor – reads the whole manuscript very closely, working mostly on Green Light issues, as well as some Yellow Light issues like making sure the point of view is consistent. Awkward phrasing, spelling, grammar – these are the areas where a Line or Copy Editor shines. Will make direct suggestions or even corrections on the manuscript, but it will be up to you to go through and analyze their comments and make final changes.
Proofreader – does the final check for any typos or formatting errors. They will return the finished proofed copy to you. If you’re writing speculative fiction, you should make sure they have a “bible” of correctly spelled names of people and places, as well as any other non-English words or phrases.
Costs for these services vary widely, based on years of experience, and it’s not always a matter of “you get what you pay for.” Also, many editors provide combinations of the above services (I personally can’t separate line editing from proofreading – if there’s a typo, I fix it).
Get recommendations from writer friends, and look up what the common current rates are online. For Developmental editing, it may be a flat fee, or charged per word or per page. For Line/Copy editing or Proofreading, it’s usually by the word.
When to seek these services? For a Developmental Editor, it’s after at least a first draft. You want to have a full draft for them to be able to see the full picture. You may go through first and do some editing of parts you know need fixing. Be aware, however, that they may suggest significant changes to your work. You have to be open to their feedback, but not a slave to it. It’s your story, after all. They should be able to give a good story-focused reason for any changes they suggest.
For Line/Copy editing, it should be after all major revisions have been made. For Proofreading, it’s at the very, very end – right before you send it off to an agent (if seeking traditional publication) or right before you publish – which means after all formatting has been done to what you think it should be – if you are publishing independently.
Finally, I have to mention Book Coaching. If, after finishing a manuscript, you simply feel overwhelmed by the revision process, you may want to hire a book coach to guide you through it (note that not all book coaches work on revision; some specialize in working through first drafts only, or will only do revision with clients they’ve helped through a first draft).
A book coach may do a Developmental Edit themselves, and then guide you through the rewrites. Ideally, they’ll work with you to identify all the issues – thus helping you to be a better self-editor later. They will help you develop a blueprint and a plan for revision, and keep you accountable through deadlines and check-ins.
They may offer Line/Copy editing services as well, but usually it’s better to get a separate editor for those, since the book coach will have the same problem seeing the work with fresh eyes that you do after reading it so closely.
Author Accelerator offers a book coach matching service if you’re interested in working with a coach. They have coaches working in many different genres, who have gone through a rigorous certification program. You can talk with any coach(es) you’re matched with before you hire them, to make sure it’s a good fit on both sides, with no obligation. I’m also happy to offer referrals and recommendations. You can ask via the Contact Page.
After all this long process, you will finally have a book you can be proud to put out in the world!
