Editing Turnaround Time
We will return your manuscript within twenty-eight business days (counting Monday-Friday) or roughly five calendar weeks.
We are a small and dedicated team. We pick the best editor for each job. We have professional editors and robust quality-control systems. We can’t rush the process.
If you submitted and paid today, your feedback would be returned no later than May 10.
What You Get With Our Book Editing Service
Our unique book editing service will provide the feedback you need to lift your book to a publishable standard.
Combined developmental and line editing will provide the guidance you need to identify and correct any problems within your book.
Our process is focussed on you, the writer, and you remain in control at all stages.
We have transparent communication, which will keep you informed at every step. We also employ tracked changes and embedded comments, meaning that you have full control over what is changed within your book. We will never alter your book's themes, change your voice or enforce any suggestions that revise your vision for your book.
Our product provides unrivalled customer service, guaranteed quality, all within an affordable budget.
We promise 100% anonymity and will never discuss your book with anyone other than yourself, without your written permission.
We have more than 100 testimonials from writers who wish to thank us for our work on their books.
Our service consists of three key elements:
- Developmental editing.
- Line Editing.
- Editor's report.
Developmental editing is also called content editing, structural editing, story editing, substantive editing, comprehensive editing, macro editing, or even heavy editing.
It is all the same thing.
A traditionally published author would have had both their agent and publisher provide support on the editorial aspects of their book. However, for the self-publishing author, this feedback must be procured by the book’s creator.
Our editing package is designed to offer this support.
Our editors will not only look to highlight technical issues but will provide you with a clear road map as to what you can do to fix these issues and how to become a better author in the process.
The role of the developmental editor is to ensure that a book is of a publishable standard.
Unlike other types of editing, developmental editing is more about the editor's education, experience and gut feeling than following a pre-written manual of instructions.
This means that the developmental editor's skill is critical. However, to ensure that we approach every book in the same way, our editors apply a number of questions to each book that they edit.
Here are a few of the questions (there are more, but they are often genre specific):
- Does the structure of the book make sense?
- Is the presentation logical?
- Is there a wider story arc that engages the reader and pulls them through the narrative?
- Has a coherent viewpoint been applied? Is it consistent? Does it make sense for the story
- Does the chapter structure make sense? Does the writer understand scene structure?
- Have narrative techniques been correctly applied?
- Does each scene contain sufficient description?
- Is each new character sufficiently described?
- Is the tense consistent?
- Is the characterization believable and consistent?
- Are the characters sufficiently developed?
- Are there any obvious plot holes?
- If the novel is set in the past, are there any inconsistencies in the use of objects etc.?
- Does the book's voice, style and format match the genre expectations?
- Is the writer telling, when they should be showing?
- Are the facts accurate?
- Does the book's word count meet the genre expectations? If it is too short, how can it be extended? If too long, what approach should be taken?
- Has the writer correctly formatted paragraphs? Will shorter or longer paragraphs better suit the style or genre of the book?
- If a prologue is used, does it match the genre and make sense to the wider narrative?
- Does the book need an introduction?
- Does the book need additional end material, such as bibliography or epilogue?
- Should the writer include information about themselves?
- If relevant, is the book correctly referenced?
- If images, tables and diagrams have been used, has the copyright been correctly attributed?
- If included, are all footnotes or endnotes correctly presented and formatted?
The editor will communicate their thoughts, directions and suggestions using embedded comments and the editor's report.
When editing your book, your editor will constantly be applying the questions above and will have a collection of thoughts and suggestions that will improve your book.
We fundamentally believe that our role is to guide and suggest but the control of the final changes should always remain with the writer. Afterall, you have the clearest vision for your book.
One way that we communicate our thoughts and feelings on your book is by the use of embedded comments.
These 'comments' are part of Word's editing tools and they will appear automatically when you open up the edited manuscript. If not, then it is just a simple matter of changing one of the settings in Word. This is easy to do.
What kind of things will you find in your comments?
There are no 'rules' as to what we will and will not include, and it changes with each writer and each book. However, we see these comments as a way to start a 'dialogue' with the writer. They are our way of highlighting a small section of the book and suggesting what might be wrong and what you need to do to improve that section.
This said, the most common suggestions include:
- Comments about consistent sentence-level problems. For example, we might highlight a section of text that we feel needs more description.
- Comments about wider issues, that are also addressed in the editor's report. For example, we may feel you are telling, not showing. We will add a detailed explanation in the editor's report and then use comments to highlight sections where this problem exists.
- Comments about words or phrases we feel are not working.
- Comments about sections we feel should be removed or moved.
It is very difficult to generalise since each manuscript is different, but comments are the way in which your editor will show you, at a granular level, where (and how), they feel you can improve your book.
However, the comments should not be considered in isolation. In addition, we will also write a detailed multi-page editor’s report.
This document will be your editor’s thoughts on your book.
It is a broad overview of the key issues and will act as a ‘jumping off point’ when you come to consider the changes to apply to your book.
As with the comments, the exact contents of the report will change with each book. However, we have been editing books since 2007, and during this time we have developed a detailed structure for our reports. This acts as a start point when compiling the report.
The report consists of two main parts: general thoughts and chapter comments.
In the general thoughts section, we will highlight any key issues that have surfaced during the edit. We will explain why we feel that the issue needs addressing, we will provide examples of where the issue is a problem (often in conjunction with the embedded comments within the manuscript) and then provide at least one solution that you can be applied to fix the problem.
For example, let’s say that we feel your book is slow to start. There are a number of reasons why a narrative might start slowly. It may be that the writer has included too much ‘setup’, which though they feel is essential to the plot, is actually slowing the pace of the book. It might also be that the writer has not really written the book with any defined structure and the story lacks any kind of inciting incident in the opening section. This would produce a story that has no real narrative drive. It may also be that the writer has simply started the story at the wrong place in the plot.
The problem with a slow start is that it leaves the reader feeling disconnected from a story and the writer risks ‘losing’ the reader.
If we were editing a book with a slow start, this would be a major issue that we would examine in the editor’s report. Our first job would be to work out why the start was slow and then suggest solutions to fix the problem.
This means that in the example above we might suggest one of three solutions.
If we felt the ‘set up’ was the issue, we would suggest that the reader reexamines the opening section and looks to remove the set up that is not immediately essential to the plot. We would then discuss ways this set up could be reintroduced later in the book (perhaps via speech or new scenes).
If we felt the structure was wrong, it might be a case of trying to enforce a very loose three-act structure. This would provide a natural inciting incident (an event that drives the character to action) and, therefore, give the book a natural narrative arc.
If the story has started in the wrong place, then we would provide suggestions as to how the opening section of the book can be restructured. It might be that we feel moving the start of the story to a more significant event would provide a better structure. If this were the case, we’d highlight where we feel the story should start and then provide strategies to ensure that nothing essential to the plot was lost in the restructuring.
The aim of the report is to be a document that you can use to understand the issues within your book and how they can be fixed. We never just say 'fix this' but will instead explain why it is an issue and what you need to do to correct the problem.
Many authors tell us the editor’s report quickly becomes an invaluable tool. Before each editing session, the author will refer back to the report and get a 'feel' for the bigger picture before delving into the nitty-gritty of the line edit.
In addition to the developmental editing, we will also carry out a line edit for your book.
Line editing is a form of copy editing, which Wikipedia describes as the ‘process of reviewing and correcting written material to improve accuracy, readability, and fitness for its purpose, and to ensure that it is free of error, omission, inconsistency, and repetition.’
Some people will describe line editing as ‘mechanical editing’. This refers to the rigid nature of the line editing process, which looks to fix errors in the prose to match the strict rules of a style manual.
In its simplest terms, the line editing process will involve the editor reading each line of your book and applying the rules from the appropriate style manual.
Here’s an example…
The Chicago Manual of Style suggests we handle numbers in prose in the following manner:
Spell out whole numbers up to (and including) one hundred (e.g., zero, one, ten, ninety-six, 104). Spell out numbers that begin a sentence unless it begins with a year (e.g., "Twelve drummers," "The 10 lords a-leaping," "2011's quota for off-season holiday references has been filled.").
Therefore, if when editing we came across the following sentence:
‘The shepherd counted 45 sheep before falling asleep.’
We would change it to…
‘The shepherd counted forty-five sheep before falling asleep.’
The line editing we apply to your prose can be described as ‘light’ line editing. This means that though we will look to find and change every error we can, it is not an exhaustive process.
Developmental editing is the primary goal of the edit, and this will be the primary focus of the editor.
This means that, though we work hard to catch all errors, it is not 100%. We always suggest to writers that they see the line edit as guidance, rather than a replacement for proofreading. Once we have returned the manuscript, you will have a clear indication of where the errors lie and will then be able to re-enforce our work with your own editing.
The developmental editing process will stimulate some level of re-writing from you, the writer. This means that once you have back the edited manuscript, you will be looking to change and add new material.
Any new writing will bring new errors; we are all human.
What is included in the line edit?
The editor will read each line of your book and then when they see an error, they will make a change.
This error will be fixed using tracked changes, which means that you remain in control. If you wish to ‘reject’ the change, then it is a simple process of saying 'no' to the change. The process will then automatically revert back to the original text.
If the editor sees errors that are made consistently (perhaps incorrect capitalisation of a word). They may choose to apply a global find and replace. This process will see the editor asking Word to ‘find’ each occasion of the error and then replacing the error with the correct version. Find and replace is used with caution but can be a very effective tool in adding consistency to a manuscript.
The line editing process
As with all editing, there is a level of ‘art’ to line editing, but on the whole, it is the most mechanical of the editing steps.
Edits will use one of four style manuals to decide how to handle the errors and inconsistencies within a manuscript. If you are using American English, the editor will use the Chicago Manual of Style by default. However, they can use Associated Press Style Guide if you have used this manual during the writing process. If writing in British English, the editor will use the Oxford Style Guide.
In addition, BubbleCow also has an internal style guide that will be consulted for certain issues. For example, most style guides will suggest that the correct format for the ellipsis is . . . (that’s dot space dot space dot). However, though this is fine for print books, it can cause problems with digital ebook conversions where the ‘white space’ is automatically removed. Therefore, our internal style guide suggests that the ellipsis is best presented as … (no spaces).
The main focus of the editor, when line editing, will be to ensure the correct application of grammar and punctuation. However, in addition, they will also address the following:
- Abbreviations and acronyms.
- Additional elements, such as charts, tables, and graphs.
- Footnotes and endnotes.
- Italicization and boldfaced type.
- Numbers and numerals.
Finding the right editor for your project is not easy. The chances are that you have spent months (a recent survey suggested that the average time to write a book was seven months) writing your book and you, rightly, want to make sure that you have the correct person for the job.
The first step is to ask us all the questions that you have, which are niggling away. We are more than happy to answer any questions.
The next step is to submit your book for a free sample edit.
The sample editing process is almost identical to the full editing process. We will look at the opening section of your book, normally the first 2000 words, and complete a developmental and line edit. We will also produce an editor’s report.
This sample edit will give you a great indication of not only what we can do for your book, but also what might be wrong and what needs fixing.
The only thing we can’t do is comment on wider narrative issues. We need to read the full story before we can make a judgement on certain technical and structural problems.
The sample edit will take twenty-four business hours to complete. Once the sample edit is ready, you’ll get an email with instructions on how to download your sample edit.
If you have questions about the sample edit, we will be happy to answer these either via email, phone or Skype.
Try free sample editing
The Editing Process
The editing process normally consists of two stages: the sample edit and the full edit.
The role of the sample edit is to show you what we can offer for your book. If you don’t need a sample edit, it is okay to just jump ahead to the full edit.
The editing process involves the following steps:
- Click this link to go to our secure sample submission page.
- Create a free BubbleCow account using email and password.
- Complete the submission form and attach your manuscript. This will need to be a Word document.
- The manuscript is submitted to BubbleCow and uploaded to our secure server.
- A senior editor will download your manuscript onto their local machine and assess the book. If we feel we can add value, the book is ‘accepted’. If we feel we can’t add value, the book is ‘rejected’ and deleted from the editor’s local machine.
- The first 2000 words of the ‘accepted’ manuscript are edited by the senior editor. They will complete a line edit and a developmental edit. An editor’s report is also completed.
- The edited manuscript and editor’s report are uploaded to our secure server. An email is automatically sent to inform you that the sample edit is ready. The editor deletes any files from their local machine.
- The writer logs into their BubbleCow account and downloads the edited manuscript and report.
- When the writer is ready to proceed, they log back into their account and submit the manuscript for full editing. Additional information is required at this point, and the writer will need to fill out a new form and upload the full manuscript.
- Once the file is uploaded, a senior editor will download the file to their local machine and assess the book. If the book is accepted an email is automatically sent to the writer. If we feel that we can’t add value to the book, it is rejected, and the writer is informed by email. The editor will delete the file from their local machine.
- If accepted, an email will be sent with an invoice for your edit and a link to our secure payment system. We work with writers from all over the world, so we can 'bill' you in the currency that is best for you. We use PayPal's secure payment system, since this will allow you to use any major card for payment. You will not need to create a PayPal account.
- Once payment has been made we will email you with a receipt for payment. You will also be given a date for the lastest possible return of the edit. This will be 28 business days from payment.
- An editor will be chosen for the book. The choice of editor is based on the editor’s experience in the genre, their desire to edit the book and current workload. In most cases, an editor will express a desire to work with the writer and the project.
- An editor will be assigned to the book, and they will then be granted access to the online files. The editor will download the files to our Dropbox system, and they will have access to the files on their local machine.
- The editor will complete the developmental and line edit, producing an editor’s report in the process. Once complete, they will upload the files to the secure server and delete the files from their local machine.
- A senior editor will access the files via our internal Dropbox system and check that the edit is ready to be returned to the writer. When the senior editor is happy, the files are removed from the Dropbox system, and the writer is informed (by email) that the edit is ready.
- The writer logs onto their account and downloads the edited files.
We see our interaction with writers as a long-term relationship.
We want to be with you for the book you are writing now and all your future projects.
In addition to editorial support, we work hard to provide help with all elements of the self-publishing process. This might be through blog posts, free ebooks, email exchanges or even one-to-one Skype calls.
Once you have worked with us on one book, we will remain at your side to help at every step.
What does this mean in real terms?
Once you have had your edit back, it is natural that you will have questions. We will answer these questions in whatever way works for you. It might be that you want to email us the questions or set up a chat, either way works.
As part of the service, you are entitled to a sixty-minute one-to-one chat with your editor.
The next step will be for you to rewrite the sections that need more work. This will produce a new manuscript. As a general rule, we don’t carry out full second edits. The reason being that we have already said everything we need to say. However, if you have reworked a particular section, we will be more than happy to have a look at that section and pass comment.
If you feel your book has changed significantly from the version we edited, it may be possible for us to carry out a second edit. If we feel that we can add more value a second time, we’ll book you in for a second edit. The charge for this edit is the same as the first.
The help will not stop there.
One advantage we possess is that we have experience of both traditional and self-publishing, as well as access to hundreds of writers. The chances are that if you are having a problem with the writing or publishing process we have already seen and solved this problem. It may well be the case that one quick email to us saves you a significant amount of time.