I’ve heard developmental editors talk about “sensing” that a story isn’t working, even going so far to say that “sensing” problems is their job. And sensing that something is going wrong is a useful skill for a developmental editor to have—all of us do, to one degree or another. But developmental editing isn’t about “sensing”…
Authors often struggle to create compelling plots. They try to hit plot points (“turning point” “black moment” and so on) but without a solid sense of how structure works, their stories can feel formulaic and lifeless. It helps if you understand story patterns so that you can see where the story might be getting off…
As freelancers, we have a tendency to think that we’re in competition with all other editors and (especially if you’re active on social media and see how many other editors there are in the world) that can feel overwhelming. But we’re actually not in competition with everyone else who calls themselves an editor. Case in…
A common structural problem you’ll encounter in fiction development is ineffective scene construction: A good scene includes the meat of a plot event – whether that event is an emotional discussion over coffee, a decision to take a certain action, or a foot chase across town – but not a whole lot more. Problems with…
Book development editors don’t read books the way readers do. To sharpen your developmental editing skills, you need to learn to read like an editor does (instead of the way a reader does). When you’re a reader, you enter the author’s world. You willingly suspend your disbelief in order to experience this world. That doesn’t…
When I teach developmental editing classes, I get a lot of students transitioning from other careers. They’re often lawyers, social workers, and teachers – though I’ve also taught actors, accountants, and engineers, among others. What they have in common is that they love stories and want to explore whether book editing (story editing/developmental editing) is…
If you’re a developmental editor, you’ve probably occasionally thought about teaching a class for writers—perhaps as a means to let people get to know you before they invest in the expense of a full developmental edit or because you want to help them solve some common writing problems before they finish their first draft or…
A few months back, a book I wrote more than twenty years ago delivered an unexpected royalty check for $1,000. When I originally wrote the book, I received an advance that earned out in a year or so. After a few years, the book stopped selling all that many copies (this is common), but I…
I ate my grapes (a Spanish tradition for the new year), said “Feliz año!” to everyone in the neighborhood, and snuggled up with a good book, feeling grateful as I embark on my second year in Spain. May your 2026 be filled with happiness and adventure!
I discourage editors from saying that our work is “reading books for a living” because that diminishes our expertise and experience. Editing is not reading books for a living; it’s understanding stories and storytelling techniques, cultivating judgment and discernment, practicing effective editorial methodologies and more. But some days, like today, I look around my office…