Line editing is the last layer of edits an author should do before handing off their manuscript to an editor. You should do these edits when you think your story is the best it can be and are ready to improve its presentation. This round is all about making the story its cleanest and sharpest possible version.
Definition
Line editing involves looking at sentence structure and word choice. You want to make the most concise sentences with the most descriptive words. This type of editing focuses on the presentation of your story more than the content of it.
The Process
For me, these edits take the longest. I can rework a sentence ten times before I get the best result. It’s easy to get frustrated and feel like you are making no progress so I try to bounce back and forth between content edits and line edits. I’ll take a chapter, do my content edits and then go back and do my line edits. Then I move onto the next chapter.
This process keeps me engaged with the storyline during the content edits (which is the part I’m excited about) but forces me to do the line edits before moving onto the next chapter. Line editing can be mind-numbing so make sure you have a motivation system in place to keep yourself moving forward. Below is a list of seven areas I examine during my final round of edits.
Fluff Words
I did a post a while back on unnecessary fluff words you can delete from your manuscript. I use that list, along with any words that I’ve learned I tend to overuse, and the Find command on my computer to go through them one by one. I see which I can cut or rewrite to make the message clearer for the readers.
Cliches
Cliches are overused phrases that often mean something other than its direct definition. Play your cards right. Wrong side of the bed. Elephant in the room. It can be hard to spot these as we often talk in cliches without noticing. There are software programs that help you identify possible cliches and change them, though I haven’t found any that I love yet. However, you can do this yourself by reading your text and looking for any phrases that ring as overused or unique to our society. Don’t forget, a cliche to you can be a nonsensical phrase to other cultures. Instead of using them, try coming up with your own unique way of saying what you want to convey.
Punctuation
Make sure you are using punctuation correctly and consistently. If you want to use the Oxford comma, always use it. If you italicize internal thoughts, keep it the same throughout the entire story. Don’t rely on your word processor to catch all your incorrect grammar. It’s good to know the rules (and even your own set of rules for that story) and follow them.
Repetition
One way to cut word count and hold a reader’s attention is to avoid repetition. Don’t reuse the same words or phrases close together. Similarly, don’t describe the sky or the time of day the same way every time. You can even analyze your sentences and paragraphs to make sure their purposes don’t repeat. If you have one paragraph describing your character’s fear of ladybugs, don’t tell the reader about it again two paragraphs later.
Now, some things will need to be repeated if they are important details for the story, but try to avoid doing it in the same chapter. Trust your reader to get the message the first time.
Variation
This is one I struggle with at times. Variation refers to changing up sentence structure. Don’t use all short sentences. Or all long. Avoid writing only flowery or only blunt language. It’s more impactful to have several long sentences followed by one short, or blunt language followed by one flowery sentence to describe a moment of awe. Use the way you string your words together to portray the mood of the story. It’s not easy and can be tedious, but the result is powerful.
Word Choice
Now that you have your sentences fixed, it’s time to look at word choice. Read through the nouns, verbs, and adjectives. Are they the most precise words you can use for that sentence? Is your verb passive when it needs to be active? Are you using two adjectives when one could capture the picture just as well?
Some writers are so good, they can portray a feeling by the sounds of the words strung together, giving them a rhythm or harshness by word choice alone. I don’t think I’ve mastered this concept yet, but it’s definitely something I want to learn. When I discover the secret, I promise to share.
Spacing
The very last thing I look at when editing is the spacing. I look at the page as a whole and ask myself if it’s aesthetically pleasing. Are all my pages full of chunky paragraphs? I may need to break them apart. Or are there pages full of one-liners for dialogue? Maybe some descriptions need to be added. If the balance of white space to text is good, then I look for widows. Widows occur when one word hangs one line lower at the end of a paragraph like
this.
It’s not very pleasing to the eye, and it looks awful at the end of a page. I single out any paragraphs that have a widow and rework the paragraph until it pulls up a line. This usually involves deleting words from the paragraph, but it could be as simple as finding some different nouns or verbs that are shorter.
Final Thoughts
Line editing is the most tedious part of editing, but it’s what separates amateurs and professionals. Clearing up your word usage and fixing your grammar is as important as making a satisfying plot or an engaging character. No one will stick around long enough to know you have the latter if they can’t read your writing.
Take the time do polish your draft with line edits, and then pass on your manuscript to the editors. I’m sure they’ll have plenty more for you to fix, but it will be less than if you gave them the first draft. That means it will make their job easier (and they can use the time to do deeper edits), and, if you are paying a freelance editor, it’ll cost you less money.
Now you know all my editing secrets I’ve learned so far. Get out there and do your own rewrites, content edits, and line edits to make your manuscript the best possible book you can create.
Thanks for reading!
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