Developmental/Content Editing

Is this a story worth telling?

The developmental edit focuses on the most fundamental question of all. Since it deals with overall structure, developmental editing takes place before any other editing, and can change a book at its most basic level.

Experience has taught me that virtually no mms can skip this step. Most need structural work and all benefit from it. And none of us see our text clearly after working on it for a long time.

Developmental work of any kind is arguably the most critical part of your review process. If your sentences are pretty but your story doesn’t make sense, your book is not a success.

Alexandra was particularly helpful during the developmental edit phase, taking a global perspective in providing guidance to my manuscript. She helped me get out of the weeds after becoming so immersed in the work and guided me to understand the arc from the vantage point of the reader. As a first time author, Alexandra’s experience about how to bring a self-published book to market really helped me navigate an unknown new process. If you have a chance to work with Alexandra on your book, you should!

Jim Martin
Sales Leader, Author, The Modern Compassionate Leader

Of course, a story worth telling looks different for different genres.

Fiction/Memoir:

  • Story—Is the beginning interesting enough to grab the reader and is the ending satisfying (this is not the same as closure)? Is the plot credible or exciting (consider genre)? Do we want to keep turning pages to see what happens next?
  • Voice—Does the work display a clear narrative voice?
  • Conflict—Is there enough rising tension throughout the story/chapters to hold interest? Is the outcome of all conflicts predictable? Do actions and events have consequences?
  • Pacing—Are we plodding along? Is there a saggy middle? Conversely, are we moving too fast?
  • Showing versus telling—How much do we know because the author tells us so? Can readers draw their own conclusions?
  • Characters—Do we care about these people? Are they differentiated, unique individuals? Is the protagonist sympathetic and compelling? Is the antagonist believable, or too weak, too evil, or not motivated enough to be convincing? Do they move through a plausible and satisfying character arc?
  • POV—Are there errors or inconsistencies in point of view? Can we tell from whose POV we experience the story? Is this the most effective perspective to tell the story from? Is there head-hopping?
  • Emotional tone—Do characters experience emotional peaks and valleys? Do scenes lack emotion or explode with melodrama?
  • Setting—Does the setting add to the story? Do we have a sense of where events take place? Do descriptions take over to the detriment of other story elements?
  • Specific to memoir—Does the author project honesty, authenticity, and critical self-awareness? How much distance has the author achieved from events?

Nonfiction:

  • Purpose—What is the overall purpose or takeaway of the book and does it achieve these goals?
  • Audience—Who are the readers, and why do they care about this topic?
  • Structure—What is the overall structure? Are the chapters and sections organized in a way that is clear and compelling?
  • Clarity—Are any passages unclear or confusing? Are the ideas presented clearly and are they logically developed?
  • Credentials—What is the basis of the author’s expertise and is the author credible in the topic?
  • Alignment—Is the book appropriate in tone, style, and format for its intended audience? Is it consistent in its approach? Is the length appropriate?
  • Non-text elements—Are organizing strategies such as headings, subheadings, transitions, and quotes used effectively? Do tables, charts, or graphics support and clarify the text?
  • Terminology—Does the book use a lot of jargon? Is the language appropriate to the intended audience?
  • Data—Is the work complete or does it require further information? Are sources missing? Are they cited appropriately? What permissions or copyright concerns do we have, if any?

What do you get when you contract for editing?

All edits include:

  • a cover letter addressing the most important themes and takeaways.
  • two versions of your mms, one showing all changes, the other with all changes accepted. These docs also contain specific comments, questions, and suggestions.
  • in the case of a line and copyedit, a style sheet.
  • a follow-up call to discuss my edits and your questions.

Want to get a quote for your specific project? I’ll need you to complete the form below, after which we’ll schedule a complimentary consultation. Be sure to review Working with Alexandra for more details.

A Note on Scheduling

I am often booked out several months in advance for editing projects. If you are interested in reserving a spot on my calendar, please fill out the form below and mention “editing reservation” under Additional Information.

Are you ready to get started?

Thinking about working with Alexandra as your editor?

Complete the form below and schedule a complimentary 20-minute consultation.