Line Editing

What it is

Ask six editors and you’ll get six definitions of line editing. But typically, we can all agree that line editing happens at the sentence level and is about style, clarity, and readability.

So what does that mean in practice?

When it comes to fiction line editing, that means that I edit your text with an eye toward voice, character/plot/world continuity, and narrative consistency across the text. In essence, this is the service you want if you struggle to make your prose sparkle. It’s great for streamlining dialogue, clarifying and appropriately placing descriptions, correcting issues with pacing, and untangling sentences that interrupt the flow of the text.

This service includes one read through where I build my understanding of your manuscript, genre, goals, voice, and intentions, and then a following read through where I edit to focus and amplify all of those things.

What it’s not

Some line editors are also mechanical copy-editors, which means they can guarantee their grammatical perfection, format your text, and build a style sheet to help with continuity when it comes to typesetting and proofreading.

I am not that line editor. My grammar is excellent, but my focus is on style, voice, (especially) character, and bringing out joy in the work.

So, if you’re looking for someone who can do it all, check out the Editorial Freelance Association pages for your perfect match, or shoot me an email for a referral.

Additionally, fiction line editing is not ghostwriting or heavy re-writing. The words on the page need to be yours. I’m just here to spruce them up and help you uncover your best authorial voice.

When it’s helpful

This service is almost always best purchased when you have all the developmental pieces in place and your text is as good as you can make it on your own, ready for professional polish.

How much it costs

$150 + $.04-$.08/wd after 5k words

That range per word reflects the variety of texts I look at, whether or not they use my particular fiction-writing expertise or historical knowledge bases, what shape they’re in, and if I am working double-time as a cultural consultant (sensitivity reader). I also use that range to affect a sliding scale that makes space for writers from traditionally under-represented groups.

Let’s work Together