How Authors And Editors Collaborate: The Revision Process

Gary Smailes | 5 November 2025

Shared Goals, Roles, and Scope

Before anyone touches a comma, agree on the aim. Shared expectations turn a rough manuscript into a smooth project. Guesswork invites scope creep, bruised feelings, and lost time. Clarity keeps the work brisk and fair.

Align on success criteria

Who are you writing for, and how will you know the revision did its job? Name the reader, the genre standards, and a few comps that set tone and pace.

Try this short exercise:

• Target reader in one line. Example: “Readers who want a smart heist with heart, ages 18–35.”
• Genre must-haves. Example: “Twisty midpoint, clear stakes, clean clues, no gore.”
• Three comps, with a sentence on what you admire in each. “Like The Martian for problem-solving, Project Hail Mary for voice, Murderbot for dry humor.”
• Success test. “Beta readers finish in two nights. Editor sees no POV breaks. Word count stays under 90k.”

Share this with your editor. Invite pushback. Better to debate tone or length now than three weeks into line edits.

Quick anecdote. A mystery writer told me success meant “pacing like Ruth Ware, with fewer red herrings.” We trimmed two fake clues in the first half, raised one true clue early, and the whole book breathed easier. The definition saved a month.

Define responsibilities

Editors diagnose and propose options. Authors decide and revise. Keep roles clean across stages.

• Developmental. The editor flags structural gaps, logic slips, weak stakes, flat arcs. Offers options for fixes, example rewrites at scene level when helpful. You choose a path, update outline, and rewrite scenes.
• Line. The editor shapes flow at paragraph and sentence level, queries intent, trims repetition, and shows how to sharpen meaning while preserving voice. You approve or reject changes and resolve queries.
• Copyedit. The editor ensures grammar, usage, style, consistency. You review changes, stet voice moves, and confirm style choices on the sheet.
• Proofread. The proofreader catches typos, punctuation misses, page breaks, widows, orphans. You approve only true errors, not rewrites.

One rule saves pain. Editors suggest. Authors own voice. If a change shifts tone or rhythm in a way you dislike, reject and ask for a different path to the same clarity.

Specify deliverables

Agree on what you will receive and when. Fuzzy handoffs slow momentum.

• Editorial letter. Length and focus. Example: 6–10 pages on structure, stakes, POV control, scene economy, and a ranked to-do list.
• Margin queries. Density and style. Example: targeted questions, 20–40 per 10k words, tied to page or line.
• Track Changes. On for line and copyedit stages. No hidden edits.
• Style sheet. Living document with spelling, hyphenation, capitalization, character names, places, timelines, terms, numbers, and formatting rules. Updated each pass.
• Pass count. One dev pass with a short follow-up check on revised chapters. One full line pass. One copyedit. One proof on pages.
• Debrief call. Length and medium. Example: 45 minutes on Zoom within three days of delivery.
• Follow-up Q&A window. Example: two weeks for email queries, response within two business days.

Ask for one sample page before a full line pass. A short test protects voice and shows edit approach.

Set standards

Pick the rulebook and stick to it.

• English variant. US, UK, CA, or AUS. Lock spelling and punctuation norms.
• Style guides. Chicago Manual of Style plus Merriam-Webster for fiction is common. State exceptions if any.
• Series bible. Names, backstory anchors, timeline pins, world rules, voice notes. Update as you go.
• Sensitivity scope. Topics and lived experience areas. Agree on readers, questions, and turnaround.
• Fact-check needs. Technical terms, languages, historical dates, legal or medical details. Decide who handles checks and how sources get noted.

Write these in the style sheet header. No guessing later.

Lock logistics

Process supports quality. Set the tools, dates, and file hygiene before work begins.

• File format. Word with Track Changes, or Google Docs with Suggesting. Confirm version and fonts if needed.
• Submission dates. Draft in by Monday 9 a.m. Editor returns by Friday 5 p.m. Build buffer days.
• Response times. Email replies within two business days. Urgent blockers flagged in subject line. Quick call if threads sprawl.
• Version control. Clear names. Example: Title_MS_v3_DEV_in, Title_MS_v3_DEV_edit, Title_MS_v4_LINE_in. Keep a brief changelog.

Protect backups. Cloud plus one local copy. Do not work from multiple live files.

Contract the scope

Handshake agreements fade under pressure. Put terms in writing.

• Rate and payment schedule. Flat fee or per-word. Deposit to book the slot. Balance on delivery or split by milestones.
• Timelines. Start date, delivery dates for each pass, buffer policy.
• Heavy-edit fees. Define what triggers a surcharge. Example: more than 30 percent line-level rewrite beyond the agreed pass.
• Rush fees. Define rates for urgent turnarounds.
• Confidentiality and NDA. State privacy terms for your work and the editor’s process.
• IP ownership. You own text and world. Editor owns process and notes. License terms for sample rewrites if relevant.
• Kill clause. Terms for ending the project early and fees owed based on work done.

A short, clear contract protects both sides and keeps focus on the work.

Action: write a one-page scope summary

Build a one-page summary both parties approve before editing begins. Paste it at the top of the working folder and in the first page of the style sheet.

Template:

• Project title and author.
• Goal for this round. One or two sentences. Example: “Stabilize structure through midpoint and raise stakes for the protagonist’s choice in Act Two.”
• Target reader and comps. Three bullets.
• Success criteria. Three to five checks the revision must meet.
• Roles and deliverables. Editor will deliver a 6–10 page letter, margin queries, and a 45-minute debrief. Author will revise scenes, respond to queries, and preserve voice.
• Standards. US English, Chicago plus Merriam-Webster. Series bible link. Sensitivity read on X topic after line pass.
• Logistics. File format, file naming scheme, submission and return dates, response-time rules.
• Contract terms. Rate, payment schedule, heavy-edit threshold, rush terms, confidentiality, IP ownership.
• Contact info and availability. Time zone, preferred meeting times, holidays.

One page, no fluff. Both parties sign or confirm by email. Now everyone pulls in the same direction.

A clear scope will not write your book. It does something better. It gives you a lane, a speed, and a finish line. Editors thrive on it. So do authors.

The Revision Workflow at a Glance

A good edit runs on rhythm. Clear entry. Focused work. Clean exit. Here is how to move through each stage without tripping over your own feet.

Kickoff

Start with intent, constraints, and pain points. Agree on goals for this round.

Do a three-line brief:

• Intent. What the story does for the reader.
• Constraints. Word count, deadline, non-negotiables.
• Pain points. Three spots that stall you.

Example:

• Intent. “A fast locked-room mystery with a tender sibling thread.”
• Constraints. “85k words, launch in October, no explicit violence.”
• Pain points. “Saggy middle, weak suspect voices, timeline drift.”

End the call with a short goal statement everyone repeats. “Stabilize Act Two, sharpen suspects, fix timeline.”

Editorial review

Your editor reads without tinkering, then returns with two things. An editorial letter for the big picture. Margin queries for local trouble.

A strong letter covers:

• Structure. Open, midpoint, climax, and how scenes point to them.
• Stakes. What is at risk and where it wobbles.
• POV control. Slips, filters, interiority.
• Scene economy. Entrances and exits, goals, and outcomes.
• Priorities. A ranked list, not a grab bag.

Margin queries are specific. Example:

• “p.47, para 3: Nora notices the broken latch, yet does not check the window. Intended?”
• “Ch.12: Dialogue tags repeat ‘said’ five times in six lines. Want one silent beat to vary pace?”
• “Timeline: Monday here, but Ch.8 ended Tuesday night. Which holds?”

Ask your editor for one sample page edit at line level before a full pass. A quick test protects voice and sets style.

Author response

Do not race to revise. First, process.

A simple three-day plan:

• Day 1. Read the letter once. Walk away.
• Day 2. Read again, mark wins in green and questions in yellow.
• Day 3. Send 5 to 10 clarifying questions with page or line numbers. Book a short call if needed.

Then map changes before you rewrite. Open a change log with four columns:

• Issue. “Protagonist’s midpoint decision feels soft.”
• Location. “Ch.14 scene with the break-in.”
• Action. “Raise the cost. Tie to sister’s safety. Add a clear trade-off.”
• Ripples. “Adjust clues in Ch.9 and Ch.22 to set up and pay off.”

Sorting issues by level prevents wasted polish on scenes heading for the bin.

Revision loop

Work in cycles. Revise, return, optional second pass to confirm fixes and catch knock-on issues.

A clean loop looks like this:

• You revise with Track Changes on for lines. New scenes in bold or with a comment tag.
• You send an updated style sheet and a short cover note. “Solved X and Y. Open question on Z.”
• Editor reviews the changed sections with focus. Confirms fixes. Flags new ripples.
• If scope allows, a second pass hits the hot spots to make sure the cure held.

Timebox each loop. Example: two weeks for structural rewrites on ten chapters. Five days for a line polish across those same chapters. Short windows keep energy high.

Stage sequence

Think order, not speed. Each stage builds on the last.

• Developmental editing. Big-picture structure, stakes, character arcs, world rules. Output is an editorial letter, a marked manuscript with queries, and a plan for rewrites.
• Line editing. Paragraph flow, sentence rhythm, clarity, and tone. Output is Track Changes with rationale in comments, plus a handful of before-and-after examples for tricky patterns.
• Copyediting. Grammar, usage, spelling, hyphenation, consistency with the style guide. Output is a clean markup and an updated style sheet.
• Proofreading. Final check on laid-out pages after typesetting. Typos. Punctuation slips. Bad page breaks. No rewrites here.

Gate checks help you move forward with confidence:

• Do scenes land their goals and outcomes. If not, stay in dev.
• Do paragraphs read clean without you translating. If not, stay in line.
• Do you still find grammar errors every page. If so, stay in copyedit.
• Are you trying to rewrite lines at proof. Stop. Fix true errors only.

Documentation

The style sheet is your memory. It tracks spelling, hyphenation, names, places, timelines, numbers, and special terms. Update it at every stage.

A simple start:

• Spelling. “email, not e-mail,” “OK, not okay.”
• Hyphenation. “time travel story,” “high-stakes job,” “well read” as predicate.
• Names. “Nora Elgin, prefers Nora, no nickname,” “Detective Rao.”
• Timeline. “Story spans Mon–Fri in May. Ch.8 Tuesday night. Ch.12 Wednesday morning.”
• Terms. “The Lock, capitalized,” “Unit 17, no period,” “CCTV, no periods.”

Drop links or citations for research. If a fact shifts, log the source and date. Everyone stays aligned.

Action

Schedule buffer time between each stage to protect decisions and quality.

A workable cadence:

• Kickoff on Monday. Editor review week one. Letter by Friday.
• Author response over the weekend. Clarifying call on Monday.
• Dev rewrites, two weeks. Buffer, two days. Short confirm pass, three days.
• Line edit, one week. Buffer, two days for your review and stetting.
• Copyedit, one week. Buffer, two days for author queries.
• Proof on pages, three days. Final check, one day.

Build in life. Holidays. Day job spikes. A child’s recital. Put buffers on the calendar, not in your head.

One final tip. End every handoff with a who-does-what-by-when note. One paragraph, three lines, sent by email and pasted at the top of the working file. Momentum loves clarity.

Communication That Keeps Momentum

Good revision work lives or dies on how you talk to each other. Clear questions. Fast decisions. One source of truth. Keep the thread tight and the work moves.

Debrief effectively

Arrive with 5 to 10 questions. Tie each one to a page or line number. Restate your intent for any scene that drew mixed notes. That keeps the editor focused on outcomes, not guesses.

Sample debrief list:

• p.47, para 2. Intent: “Build dread before the reveal.” Does the cut to the basement do that, or stall it.
• Ch.6, last page. You flagged a POV slip. I meant to show Mia reading his body language. Where does it slide into head-hopping.
• p.113, lines 10–18. The joke lands for me. If it misses for you, is the issue timing, diction, or reference.
• Ch.12 fight. Goal: show Ava’s fear under a brave face. Which lines undercut that.
• Timeline check, Ch.8 to Ch.10. Are you reading Wednesday to Friday. My intent was Wed night through Thu.

A quick format helps:

• Question.
• Location.
• What you meant the reader to feel or know.
• What outcome you want from the change.

Five minutes to prep this list saves an hour of circular talk.

Mini exercise: take your editor’s letter, pick the prickliest scene, write one intent sentence for it. Add two questions tied to lines. Bring those to the debrief.

Use decision logs

After every call, send one short note that captures decisions. No essays. Three blocks do the job.

• Agreements. What you both locked in.
• Options chosen. If there were paths A, B, C, state which you picked and why.
• Open questions. What still needs proof or a test page.

Example:

• Agreements: Keep the sibling subplot. Cut the diner scene in Ch.9. Move the reveal to end of Ch.15.
• Options chosen: Motive = money over revenge, aligns with genre comps. Will plant two money tells in Ch.3 and Ch.7.
• Open: Test first-person in Ch.1 only. Send one page by Friday for tone check.

Keep this log in one place. A shared doc named Decisions_Log_Title_v1. Link it in the top comment of the manuscript. When confusion hits, you point to the log, not your memory.

Calibrate tone and voice

Abstract advice slows you down. Ask for one concrete example before you roll changes across the book. Say, “Show me on one paragraph.” Then compare the sample to your voice deck.

What to request:

• A line-level pass on one page with comments that explain choices.
• Two alternate edits of a sticky sentence, one tight, one looser.
• A marked paragraph that demonstrates how to reduce filters or filler beats.

Use the sample to set guardrails. For example:

• Keep sentence length varied.
• Retain slang in dialogue, trim it in exposition.
• Avoid ornate metaphors in fight scenes. Save them for aftermath.

Once both of you nod at the sample, apply the pattern broadly.

Handle disagreements

Disagreement is routine. Keep it anchored to the reader. Ask three questions.

• What does the reader miss or misunderstand if we leave this as is.
• What do genre readers expect here, and where do we meet or break that.
• What alternative meets the intent with fewer side effects.

Separate preference from clarity. “I prefer fewer adverbs” is taste. “The meaning is unclear” is a comprehension issue. Solve clarity first. Taste follows once the work reads clean.

Use a test. Try two small edits on one page. Send both. Pick the one that protects voice and meets reader needs. Move on.

Set SLAs

Response times save momentum. Agree on simple service levels and escalation paths.

• Queries in margin notes. Response within two business days.
• List of blockers in email. Acknowledgement same day. Resolution within three days.
• If a blocker threatens a deadline, book a 15-minute call within 24 hours.

Define how to flag priority. For example, start the comment with [BLOCKER] or [DECISION NEEDED]. No guessing.

Set office hours where replies pause. Nights. Weekends. Public holidays. Put them in the kickoff note so nobody waits in silence.

Track queries

Keep the conversation where the work lives. Reply inline to margin notes. Resolve or re-open with a short rationale so the history stays clear.

A tidy pattern:

• Reply: “Agree. Revised line 12 to remove filter.”
• Resolve: click the button.
• Re-open: “Tried fix A, rhythm slipped. Proposing fix B on line 14. Thoughts.”

Avoid orphan comments in email with no page reference. If email talk happens, paste the outcome back into the margin or the decisions log. One source of truth, always.

Do a weekly sweep:

• Filter comments by “Unresolved.”
• Knock out quick wins.
• Tag the rest by type, timeline, character, continuity.
• Book a call if two or more blocks connect.

Action

End every exchange with who does what by when. Keep it three lines.

Example:

• You, revise Ch.12 fight for POV control by Thursday EOD.
• Editor, sample line pass on Ch.1 by Friday noon.
• Both, confirm timeline notes in the style sheet on Monday.

Small habit. Huge speed. Momentum loves clarity.

Building a Practical Revision Plan

Plans keep momentum. Guessing burns days. Build a simple system, then follow it.

Triage by level

Work top down.

• Story first. Structure, stakes, character arcs. If the midpoint drifts or the climax feels soft, fix those before you touch scenes.
• Scenes next. Goals, conflict, outcomes. Trim or merge scenes without a clear turn.
• Lines after. Rhythm, diction, imagery. Save fine polish for pages you will keep.
• Copyedit after lines. Proof after layout.

Mini exercise, one hour:

• Read your outline or scene list. Mark weak arc beats in red. Mark soft stakes in orange. Mark missing consequences in blue.
• Pick three red marks. Write the fix for each in one sentence. No prose yet. Only the change.

Prioritize by reader effect

Clarity beats elegance. Continuity beats flourish.

• If a reader loses the timeline, fix the clock before you tune the voice.
• If a reveal confuses, rebuild the set‑up before you tweak adjectives.

Useful questions:

• Where will a first‑time reader stop to replay a line.
• What event orders feel off.
• Who knows what by each chapter break.

Create a short list:

• Ch.4–5 timeline, align Wednesday night with the school event.
• Ch.9 reveal, plant motive clue earlier.
• Ch.12 action, clarify who hits whom in the first exchange.

Keep this list pinned where you work.

Map dependencies

Every big move ripples. Track links so you fix clusters together.

• Move the reveal to Ch.15. Update clues in Ch.3 and Ch.7. Adjust the suspect’s alibi in Ch.10.
• Age the niece from 8 to 12. Update dialogue beats in Ch.2, Ch.6, and the epilogue. Swap one plot device that relies on height.
• Shift the point of view in Ch.1 to the sister. Rework internal thoughts in Ch.2. Remove redundant exposition in Ch.4.

Create a simple map:

• Change: Reveal moved to end of Ch.15.
• Touchpoints: Ch.3 photo, Ch.7 bank text, Ch.10 alibi.
• Owner: You.
• Due: Friday.
• Risk: Missed clue in Ch.5 sidebar.
• Mitigation: Search for “photo” and “bank” terms. Add to checklist.

Group linked scenes. Revise them in one pass. Re‑read the run to check for seams.

Time‑box work

Open‑ended work drifts. Put work into sprints.

• Scene sprints. Two scenes per day, five days a week.
• Word sprints. 1,200 words per session, three sessions a day.
• Weekly checkpoint. Twenty minutes every Friday to compare plan to progress.
• Buffers. One day per week for spillover or rest.

Write it on a calendar:

• Mon–Thu, revise Ch.3–Ch.6.
• Fri morning, checkpoint and file backup.
• Fri afternoon, hold for blockers or admin.
• Sat–Sun, off or light reading pass.

Set limits:

• No new chapters during a line‑level week.
• No line polish during a structure week.

Version control

Treat your files like a team project, even if you work solo.

• Use consistent names. Title_MS_v4_DEV. Title_MS_v5_DEV. Title_MS_v6_LINE. Title_MS_v7_COPY.
• Keep a changelog. Date, version, summary of what shifted.
• Back up to two places. Cloud plus an external drive.
• Accept resolved Track Changes to reduce noise. Keep only live edits visible.

Sample changelog entries:

• v4_DEV, 12 Mar. Moved reveal to Ch.15. Cut diner scene in Ch.9. New beat in Ch.3 to seed motive.
• v5_DEV, 19 Mar. Fixed timeline Wed–Fri. Strengthened Ava’s goal in Ch.12.
• v6_LINE, 26 Mar. Tightened exposition in Ch.1–Ch.4. Smoothed dialogue tags in Ch.7.

One file per round. No “final_final” chaos.

Convert the letter

Turn a long editorial letter into a checklist you can execute. Break big notes into tasks with owners, dates, and success tests.

Template:

• Task: Raise external stakes in Act 2.
  • Steps: Add consequence for failure in Ch.8. Increase pressure from antagonist in Ch.9.
  • Owner: You.
  • Due: 21 Mar.
  • Success test: Beta reader lists two concrete risks by end of Ch.9.
• Task: Clarify who knows the secret before the party.
  • Steps: Add a confirming beat in Ch.5. Remove stray hint in Ch.6.
  • Owner: You.
  • Due: 18 Mar.
  • Success test: Editor reads party scene without confusion notes.
• Task: Line tone, less snark in narration.
  • Steps: Ask editor for a one‑page sample. Apply pattern to Ch.1–Ch.3.
  • Owner: You, then editor for spot check.
  • Due: 24 Mar.
  • Success test: Voice deck match on cadence and diction.

Keep the checklist short. Ten to twenty items per round. Fold each done item into the changelog.

Build a one‑page roadmap

Give yourself and your editor a single sheet. Clear scope, clear dates, clear risks.

Roadmap outline:

• Goals for this round, three bullets.
  • Stabilize structure through Ch.15.
  • Lock timeline Wed–Fri.
  • Set line tone for opening chapters.
• Must‑fix items with owners and dates.
  • Reveal move, you, 15 Mar.
  • Timeline sync, you, 19 Mar.
  • Tone sample, editor, 17 Mar.
• Nice‑to‑fix items if time allows.
  • Trim two side jokes in Ch.11.
  • Sharpen description in Ch.4 hallway scene.
• Dependencies and ripple notes.
  • Reveal move touches Ch.3, Ch.7, Ch.10.
• Sprints schedule.
  • Week 1, structure on Ch.3–Ch.10.
  • Week 2, structure on Ch.11–Ch.15, then tone sample.
  • Week 3, line pass on Ch.1–Ch.3, timeline sweep.
• Risks and mitigations.
  • Risk, blocker on motive clues. Mitigation, 15‑minute call on 16 Mar.
• Source of truth links.
  • Manuscript v4_DEV.
  • Decisions Log.
  • Style sheet.

Share the roadmap for a quick confirm before deep rewrites. Pin it in your working folder. Then follow it, update it, and keep moving.

Running Iterative Revision Passes

Revisions move faster when you work one layer at a time. Big picture first. Fine print last. Protect voice all the way through.

Start macro, then micro

Work from outline to scene to paragraph to sentence. Do not polish a line that might go in the bin.

• Outline pass. Check plot turns, stakes, and arc beats. Note where tension dips or goals vanish.
• Scene pass. For each scene, state goal, conflict, and outcome. If one piece is missing, repair or cut.
• Paragraph pass. Smooth flow. Group like ideas. Trim repeats.
• Sentence pass. Tighten verbs. Swap vague fillers for specifics. Sharpen rhythm.

Quick test:

• Open the middle chapter. Summarize it in one line. If you need three lines, the structure is blurred. Fix structure first, then return to lines.

Example trap:

• Before: You spend an hour making a metaphor sing in a scene that later gets merged.
• After: You decide the merge first. Then you polish the surviving lines.

Preserve voice with a deck

Voice drifts under heavy edits. Build a short “voice deck” and use it as a ruler.

How to build it:

• Pull five lines that sound like your narrator at their best.
• Pull three lines each for two key characters in dialogue.
• Note cadence, sentence length, slang, and pet words.
• Add a short don’t list, for tone slips you want to avoid.

Sample deck snippet:

• Narrator: Short sentences in stress. Dry humor. Rare similes. Concrete nouns.
• Lee: Formal verbs. Avoid contractions. Indirect disagreement.
• Mara: Quick questions. Interruptions. Soft swears.

Use it:

• Before each session, read the deck.
• After revising a page, read three lines out loud and compare to the deck. If the vibe tilts, adjust.

Run focused passes

One goal per pass. Narrow focus yields cleaner work.

• POV and filter words. Search for saw, heard, felt, noticed, realized, thought. Replace with direct sensory detail where fit.
• Exposition and telling. Highlight every line that explains motive or backstory. Keep what serves tension. Move the rest to later or cut.
• Dialogue beats and tags. Verify who speaks without overtagging. Use beats that reveal attitude, not stage directions that clutter.
• Echoes and clichés. Search for crutches. Suddenly. Turned. Smiled. Heart pounding. Replace repeats with fresh action or cut the extra.

Mini exercise, thirty minutes:

• Pick one chapter. Run the filter-word search. Fix ten instances. Log any new rules on the style sheet.

Read aloud or use text-to-speech

Your ear catches what your eye forgives. Bring sound into the pass.

Options:

• Read to yourself at a natural pace. Mark stumbles with an asterisk. Fix those lines first.
• Use text-to-speech. Slow the speed. Listen for rhythm gaps and sticky phrasing. Note any section where you lose track of who, where, or why.

Routine:

• Ten minutes at the start of each session. One scene per day.
• End with a quick re-read of any lines you changed during listening.

Quality control between passes

Protect continuity while you fix things.

• Update the style sheet each time you settle a choice. Spelling, hyphenation, titles, names, nicknames, ages, dates, time markers, units.
• Run targeted searches. Character names, weekdays, months, chapter time stamps. Confirm sequence holds.
• Use Word’s Compare before you send pages back. Confirm only intended changes remain.
• Accept resolved Track Changes to clear visual noise. Leave live queries open until addressed.

Checkpoint prompt:

• What changed since the last pass. What rules did you set. What must the next pass avoid breaking.

Tools, used with restraint

Software helps with consistency, not voice.

• Run PerfectIt or ProWritingAid after big story changes settle. Configure to match your style sheet.
• Reject any suggestion that dulls rhythm or character. Tools flag patterns. You decide intent.
• Always finish with a human read. Out loud if time allows.

Order matters:

• Structural pass.
• Line work on kept pages.
• Tool sweep for consistency.
• Human sweep to restore style.

Define “done” for every pass

If you do not define done, you drift.

Examples:

• Macro pass done when every chapter has a clear turn, the midpoint raises stakes, and the ending pays the central promise.
• Scene pass done when each scene lists goal, conflict, outcome, and stakes in your notes.
• Paragraph pass done when no paragraph holds two topics, and transitions read clean without throat clearing.
• Sentence pass done when verbs carry weight, adverbs drop to rare, and no line trips your ear during a read aloud.
• Dialogue pass done when speaker identity is clear without name tags every line, and beats reveal subtext.
• QC pass done when style sheet matches the pages, decision log records changes, and no unresolved queries remain.

Write the done criteria at the top of your session plan. When you meet them, stop. Move to the next layer. That restraint keeps momentum and protects the book you set out to write.

Handoffs Between Editing Stages and Into Production

Moving between editing stages without clear handoffs wastes time and creates confusion. Clean transitions keep the project on track and protect the quality gains from each round.

Know when to move forward

Each stage has prerequisites. Meet them before you advance.

Developmental to line editing:

Structure holds. Character arcs pay off. Plot gaps close. Timeline works. Major scenes serve the story promise.

Test: Summarize each chapter in one sentence. If the summary reveals logic gaps or missing stakes, stay in developmental. If it flows and builds tension, you're ready for line work.

Line editing to copyediting:

Scenes read cleanly. Voice stays consistent. Dialogue flows without confusion. Exposition integrates smoothly.

Test: Read three random pages out loud. If you stumble over awkward phrasing or lose track of who's speaking, do another line pass first.

Copyediting to proofreading:

Grammar, spelling, and punctuation are consistent. Style sheet matches the text. Formatting is uniform.

Test: Spot-check your style sheet against ten pages. If you find three or more mismatches, clean up consistency before moving to proofs.

Never proof until after layout:

Typesetting changes line breaks, page turns, and spacing. Proof the designed pages, not the manuscript file.

Build complete handoff packages

Each stage needs context to succeed. Provide clean files and clear guidance.

Standard package includes:

• Clean manuscript with accepted changes
• Updated style sheet with new decisions
• Decision log summarizing what changed and why
• Cover note flagging remaining risks or open questions

Sample cover note for line editing handoff:

"Completed developmental pass. Strengthened middle act pacing and clarified Sarah's motivation in chapters 8-12. Two minor timeline adjustments in ch. 15. Watch for: Technical jargon in ch. 3 needs consistency check. Dialogue tags in heated scenes may need tightening. Style sheet updated with new character nicknames."

Decision log example:

• Ch. 7: Combined two short scenes for better flow
• Ch. 9: Cut flashback, moved key info to dialogue
• Timeline: Advanced story start by two weeks to align with subplot
• Character: Sarah now 32 (was 28) to match career experience

Set second-pass terms upfront

Second passes cost extra and take time. Define scope before you need it.

What's included:

• Addressing editor queries and author revisions
• Light cleanup of knock-on effects
• Quick consistency check

What's extra:

• Major rewrites that exceed agreed word-count changes
• New research or fact-checking
• Rush turnarounds under standard timeline

Sample terms:

"Second pass includes up to 15% new content, query resolution, and consistency cleanup. Turnaround: 5 business days. Major restructuring or additions over 20% trigger additional fee discussion."

Handle page proofs with restraint

Page proofs are for errors, not improvements. The book is set. Your job is final cleanup.

Mark only:

• Actual errors (typos, wrong words, punctuation mistakes)
• Layout problems (bad breaks, spacing issues, missing elements)
• Essential corrections that affect comprehension

Do not mark:

• Style preferences you could have caught earlier
• Minor word choice improvements
• Formatting that works but isn't your first choice

Tools:

Use PDF markup tools or the publisher's proofing system. Mark clearly. Include page numbers and specific locations.

Example good correction:

Page 47, line 12: "there" should be "their"

Example bad correction:

Page 47, line 8: Consider changing "said" to "whispered" for better mood

Align your production team early

Loop in designers and typesetters during copyediting. Their input prevents problems later.

Discuss:

• Scene breaks and chapter openings
• Special formatting needs (letters, text messages, lists)
• Front matter and back matter requirements
• Ebook considerations that affect print layout
• Widows and orphans tolerance
• Image placement and captions

Timeline example:

Week 1-2: Developmental editing

Week 3: Line editing

Week 4: Copyediting + design consultation

Week 5: Layout and typesetting

Week 6: Page proofs and corrections

Week 7: Final files and backup prep

Work backward from your launch date

Build your schedule from the end goal, not the start date.

Essential buffers:

• Beta reader feedback: 2-3 weeks
• Editorial rounds: 1-2 weeks per stage
• Design and typesetting: 1-2 weeks
• Proofing and corrections: 1 week
• File prep and distribution setup: 3-5 days

Sample six-month timeline:

Month 1: Developmental editing

Month 2: Line editing

Month 3: Copyediting and design start

Month 4: Layout, proofs, corrections

Month 5: Beta reads and final tweaks

Month 6: Launch prep and release

Add 20% buffer time to each phase. Rushed books show their haste.

Define acceptance criteria for each stage

Agreement prevents scope creep and arguments.

Developmental done means:

• Story structure serves the genre promise
• Character arcs complete and satisfy
• Plot holes closed
• Pacing supports tension throughout
• Reader questions answered by story end

Line editing done means:

• Voice consistent throughout
• Scenes flow without confusion
• Dialogue sounds natural and advances story
• Exposition integrates smoothly
• Style sheet reflects author choices

Copyediting done means:

• Grammar, spelling, punctuation consistent
• Style guide followed throughout
• Fact-checking complete where needed
• Formatting uniform
• All editor queries resolved

Proofreading done means:

• Text matches layout correctly
• No typos or obvious errors remain
• Page references accurate
• Front and back matter complete
• Files ready for production

Write these criteria into your initial scope document. Reference them at each handoff. When you meet the standard, move forward. When you don't, stay put and finish the job. Your readers will thank you.

Frequently Asked Questions

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