#chronicwhimsy

Editing: a drive-by guide

Hi, my name is Claire, and I’m an editor.

(Hi Claire)

I’ve been asked to give a quick guide on tips for editing your stories, as I’ve been a beta/editor for various fanfic writers over the years. I’m a professional editor, working for a publishing house in the UK, and I offer independent freelance editing too, via my website. I’ll be on the Discord server answering questions this evening, but I’m also happy to chat to people either through my website or even if you wanted to drop me a line on tumblr.

The key thing to remember about editing is that the end goal is to make your story the best it can be, and make sure your initial idea comes across as clearly and purely as you first imagined it. It’s about ensuring that the lines of communication between you and your reader are 100% open.

To do that, you need to have finished your story, because you can’t fix something that doesn’t exist.

Then you edit.

What now?

So, you’ve finished your Winterhawk Olympic Bang Fic, and you’re wondering what to do next?

The very first, and most important thing you should do? Celebrate. I mean congratulate the hell out of yourself, pat yourself on the back, and have some cake. Finishing stories is hard. Getting through a first draft is one of the trickiest parts of writing, so you should be proud of yourself, and proud of your story.

Because in a short while, editing is going to make you hate both.

I mean that in the nicest possible way of course, but you absolutely are going to be thoroughly sick of this whole thing by the time you’re done, and you’re going to question everything you’ve ever written. You’re going to get a close-up view of all your narrative bad habits which will make you think you’ve never had any skill at all, and you’re going to re-read your work so many times that it’ll feel trite, old, uninspired. This is normal and it is your brain lying to you. If you remember nothing else, remember that!

“The writing itself is no big deal. The editing, and even more than that, the self-doubt, is excruciatingly impossible.” Jonathan Safran Foer

Don’t lose faith! Editors and editing exist for a reason, no first draft is perfect. You’ve done something amazing in finishing, and now you’re going to make it incredible.

Before You Start - Take a Break

You know the phrase “can’t see the wood for the trees”? It could just as easily be “can’t see the story for the words.” It’s never recommended to go straight into editing as soon as you finish writing, and part of the reason for that is because you’re too deep in the story to be able to assess it objectively, or to catch things that are missed out because you know they’re there, but the reader wouldn’t.

“Once it's done, put it away until you can read it with new eyes. When you're ready, pick it up and read it, as if you've never read it before.” Neil Gaiman

Most writers and editors advocate putting a story away for a month or so before returning to edit, so you’re looking at it with fresh eyes. Obviously, with a Big Bang (or other fic event) this sort of time is usually at a premium! Try and make as much space as you can while still leaving yourself time to edit.

If you really don’t have any time, one trick that can help is changing your location. If you write in your room, can you relocate to your kitchen? Or a café (if you can safely)? Could you print it out? (Printing Top Tip: if you do print it, try and do it double-spaced - this makes it easier on the eyes, and gives you room to make notes. Also, serif fonts can often be easier to read than sans serif fonts, as it gives stronger distinctions between different letters.)

The Filter System

I like to think of the editing process as a series of different filters which, when used one after the other, produce a finely-sieved finished product. Each filter stage has slightly smaller holes than the one before it, as you look increasingly closely at your work.

Filter 1: Structural editing

Does the story make sense? Is the pace okay? Do all the scenes work where they are, or would they be better elsewhere? Do some scenes need to be there at all? Is the characterisation consistent? Does anyone change names halfway through? Did you forget what time of year it was set halfway through?

Filter 2: Line editing

Is this phrase as tight as it could be? Have you repeated yourself anywhere? Does this sentence add anything or does it throw the pace off? Have you gone overboard with adjectives and similes? Have you been too sparse with them?

Filter 3: Copy editing

Is your style consistent? Did you start writing in present tense and switch to past tense? Could this scene transition be snappier? Are there any bits that you want to tidy up? Have you left any half-finished sentences because you got distracted before you could end it?

Filter 4: Proofreading

Is everything spelled correctly? Have you caught all the strange grammar mistakes?

Some of these things might be picked up by your beta reader if you have one. Different beta readers have different styles, and also they will work based on their relationship with you and what you prefer. Some may stick to proofreading and consistency-checking, others may be more confident to dive right in and look at structure, pacing and characterisation. Some may work through the process with you as you write, others may only look at the story when it’s complete so they can get a full overview. There is no right or wrong answer, and having a conversation with your beta about your respective styles at the start can help you work better together!

Filter 1 - Structural Editing

For this stage, you want to read your whole story through from start to finish, and resist the urge to tweak anything to begin with! You will want a way of making notes as you go through because as you do, you’ll make yourself a cheat-sheet to help you with your line edit. Things to keep track of:

Character name spellings

Character ages

Character relationships (drawing a relationship web can be very helpful to visualise this!)

The time span of the story - the date it starts, the date it ends.

As a subset of this, I find it can be very helpful to set up a spreadsheet with a timeline of what happens in the story, and who is involved. Doing this both chronologically for the characters and in order of how it happens in the story can help you keep track of what characters know when, and also when the readers find out certain information. You might have one of these from when you were planning your story (as detailed in Sara Holmes’ workshop). If you’ve kept it up to date with changes to the plot and structure as you’ve written, this will be super helpful.

At this stage, you’re looking to see if everything works as a consistent story. You want to check to see if it feels like it’s the right pace, or if there are bits where it drags or rushes through the action. Why is this? Are there scenes which aren’t adding anything to the progress? Could they just be referred to in passing, or removed entirely without impacting the story? Are there other scenes which need to be added to provide more detail and growth? Is there anything that you as a writer know that is essential to the story, but you forgot to actually put in the text?

“Crafty writers...don't allow Exposition to form Lumps. They break up the information, grind it fine, and make it into bricks to build the story with.” Ursula K. Le Guin

You’re also looking to see if the characters feel true to themselves all the way through. Do the relationships spark? Do they sound like themselves? Can you hear them in your head?

Some people recommend doing several structural edits, with a different focus each time. One pass to look at the pacing, one pass to look at the characters, one to look at the story arc. You’ll work out what floats your boat, but you will be re-reading this story a lot of times before you’re done editing - which is why it’s very important to write what you love and want to read! You’ll go through many stages of hating this story before you let it go, and that will be even harder if it wasn’t something you enjoyed in the first place.

Filter 2 - Line Editing

So you remember I told you to make all those notes during your structural edit? Here’s where you’re going to use them. Now’s the time to go through your story line by line and check that the details in your cheat sheet are correct all the way through the story. I’ve written a novel that I initially set in November, but by the time I finished it, I’d decided it was taking place in early May. I had to go back and fix all the dates and weather descriptions to make sure the action hadn’t actually been yeeted forward six months spontaneously in the middle of a conversation.

Arguably, the line edit will be the most painful part of editing. At this stage, you will be taking a fine-tooth comb to everything you have written, examining it to within an inch of its life, and casting judgement. You’re going to find every stylistic tic you have (for me, everyone is constantly quirking their eyebrows and smirking like they’ve got cramp in their facial muscles), and you’re going to get rid of them (a person only has so many eyebrows, and they can only quirk so far). Now is the time to kill your darlings - don’t hang on to anything unless you feel it’s really doing a job to further the story and the characters.

“Kill your darlings, kill your darlings, even when it breaks your egocentric little scribbler's heart, kill your darlings.” Stephen King

If you have ever worried about the unbearable sensation of being Known, the line edit is where you will experience that with every word, and you’ll be doing it to yourself. This is when the doubts will really start to creep in and you will maybe feel like everything you write is unoriginal, derivative trash and unfit for human eyes.

Here I’ll reiterate what I said above:

This is a normal feeling, everyone experiences it when editing. E V E R Y O N E.

It’s a lie. No-one else will ever read your story in this state, no-one else will ever read your story this closely. Of course it feels obvious and uninspired to you - you wrote it. It’s your idea, and you’ve read it several times, it holds no surprises for you. (I may be projecting my feelings from every time I’ve edited something here, but…)

You’ll also be catching any ELEPHANTS or whatever your mammal of choice for placeholder text is that you’ve stationed throughout the story as a flag for you to come back and add in a name, or a food, or a song title later. You know, the things you decided were a problem for Future!You. I have bad news, the future is now.

Top Tip: if you have changed someone’s name halfway through, DON’T for the love of Mike, just do a straight find and replace to correct it. Because that’s when you suddenly find out how many other words actually contain names (Mark became Bill? That’s great, until your characters are going to the superBillet to buy groceries). Some word processing programmes have a “whole word” option which is your friend, otherwise ensure to put spaces either side of the word when you search. If you don’t, you’ve just made another horrible job for yourself...

Filter 3 - Copy Editing

Once you’ve made it out the other side of the Line Edit (and given yourself a nice treat to congratulate yourself because that stage is HARD), we get onto copy editing. This is basically the set-dressing stage. You’ve built the house, you’ve decorated the room, and now you’re just making sure every bit of furniture is in the right place for optimal feng shui.

Here’s where you go through and go, do I really need a dash here, or could I just use a comma? Could I use fewer commas? Could I go in and move all of @kangofu_cb’s commas around because I’m the sort of person who will come into your house and change how you hang your toilet paper or where you keep your ketchup.

Now is the time to be as picky as possible, like you’re an interior designer for the most demanding client in the world and the ornament must be exactly equidistant from both ends of the mantlepiece and facing precisely south-west. Things that may have just survived your line edit will be measured again, and if they’re found wanting, then they get binned.

“Substitute ‘damn’ every time you’re inclined to write ‘very’; your editor will delete it and the writing will be just as it should be.” Mark Twain

Another thing you might like to do here is check that all your features and things are correct. Did you make a wild claim about the lifecycle of salamanders, or the average price of corn and then never go back to verify this? Take a second to just do that now. It may be that you decide it’s not a problem (I received one copy edit note saying that an idiom used in a book wasn’t recorded until 200 years later, and I made the editorial decision that no-one would care), but for bigger things you may want to make sure you’re accurate.

If you google it (as I just did, to make sure I was definitely giving you the right information), copy editing is often conflated with line editing, and that’s because in reality a lot of the elements of copy editing actually wouldn’t usually be done by the author, and are probably irrelevant to fanfic. The copy editor is responsible for ensuring the book has a consistent grammatical style in line with the preferences of the publisher (em-dash or en-dash, curly quote marks or straight ones, how you deal with acronyms, what needs to be italicised, etc. etc.), which isn’t necessarily required for fanfic. In reality, for fanfic I’d use this stage as a second, lighter line-edit to see where things can be tightened up in phrasing, as well as perhaps a preliminary proofread where you start to mark up any spelling errors.

Filter 4 - Proofreading

By this stage, you’ll be exhausted, and sick to death of the blasted thing. But the end is in sight! Now you’re onto the proofread. This is another close read, where you go through and check for spelling errors, typos, missing full stops, strange formatting stuff (which probably will be less of an issue as AO3 basically makes everything uniform anyway).

Before you even start this, change your font.

We’ve all been there, thought we’d caught every spelling error, every weird typo, only to spot six immediately after posting. That’s because after a certain point our brain becomes used to the font we’ve written in, and will automatically correct things that aren’t right. AO3 has its own unique formatting - colour, spacing, font - and the minute your fic appears on there in this new format you brain wakes up and is like “oh shit, yeah, that’s not how it should be.”

By changing the font before you proofread, you preempt this step.

Another thing to remember: it’s unlikely you will ever catch every mistake. Published books regularly go out with a smattering of typographical errors throughout the text - how many first editions of books are valuable because of misspellings that slipped through the net? You’re only human.

“Connie's other job was proof-editing which she did very badly. Transferring the author's corrections to a clean sheet of proofs was something Connie was unable to do without missing an average of three corrections a page, or transcribing newly inserted material all wrong... she put angry authors' letters about the mutilation of their books under the cushion of her chair to deal with later.” Muriel Spark, A Far Cry from Kensington

Often, spelling errors and things you would look for in a proofread are things that a beta reader will pick up as they go, as they’re the easiest things to spot, but it’s also worth looking over yourself for anything your beta might have missed.

Whether you decide to follow any or all of these steps, always do the proofread last.There is no point carefully spellchecking a chapter you are then going to delete, or proofreading the whole thing, but adding loads of new paragraphs later that either don’t get looked at or mean you end up having to proofread twice. That’s the only hard and fast rule when it comes to editing, and it will save you a lot of unnecessary work!

FREEDOM

And then, finally, unbelievably - you’re done. Your literary child is ready to leave the nest. Resist the urge to keep re-reading and tweaking. Instead, click “publish” and give yourself a nice little treat. You’ve earned it.

Miscellany and Disclaimers

These editing stages are ones that would be applied to a published novel. An author would probably do this several times - once on their own to get it ready for submission, then perhaps again with their agent, but the really heavy work would be done with their editor. The structural edit would be done under the advice of an agent or editor where the author looks at their comments, rejigs things accordingly, and lather, rinse, repeat until everyone’s happy. The editor would undertake the line edit, and the author would decide what they wanted to keep or change. The copy edit and proofread would be done in-house or sent to freelancers, with queries and changes wafted past the author for clarification or approval.

Self-published authors will often hire freelancers to help at various stages to get feedback and advice.

Very rarely would an author go from draft to final published piece by doing all their editing alone. Because it’s hard fucking work, and because your brain will get exhausted.

In light of that, you need to remember:

You’ve written a fanfic

The editorial standards of fanfic are significantly less stringent than published books

Editing by yourself is really hard work that many people are often paid to do for published books

No-one is paying you for your fanfic

Fanfic is supposed to be fun

Some published authors will edit and rewrite and edit and rewrite again and again. At a panel I attended, Joanne Harris said that if she didn’t rewrite her work at least five times she was being too easy on herself, while Joe Hill said he usually aimed for three rewrites - Joe edited as he went along, going over the previous day’s pages before continuing, where Joanne completed her manuscripts before editing. Elizabeth May has talked about her stages of drafting, starting with her Trash Draft, then her Clean Draft, and then rewriting and editing after that.

These are people who are writing professionally, getting paid for their work, and so the time they put in has monetary results. If you want to write original fiction, their advice is extremely valuable.

For fanfiction, it’s a large time investment for something you’re doing as a hobby for free. If I’m strictly honest, I’m fairly lax with my fanfiction editing. I do structural discussions and tweaks with my beta reader as I write, and then a spell check. I’m also aware that my fanfics aren’t narratively complex, nor do they seem as polished, rich and deep as some of the other works out there. That’s fine by me. You simply need to find the level you’re happy at, where you can still feel proud of your work but you’re enjoying the experience.

In the end - it’s all for fun!

Resources:

Online

Curtis Brown Creative: An Editor’s Guide to Editing Your Novel

Joanne Harris: Ten Tweets About Editing

Joanne Harris: Writing Resources

NerdsLikeMe: Beta Reading vs Proofreading vs Editing

Books

Stephen King - On Writing: A Memoir of the Craft