If you’ve written a book, chances are you’ve heard about the term “developmental editing” (also called substantial editing or content editing). But what is developmental editing?
Developmental editing is a type of book editing that focuses on the big picture stuff, like theme, character arcs, plot points, pacing, and genre.
There’s no focus on grammar, spelling, or even stylistic choices. It’s all about the content to make your story stand out.
Read on to learn more about developmental editing, the difference between fiction and nonfiction editing, the developmental editing process, and more.
What is developmental editing?
As we’ve determined, developmental editing is concerned with your story as a whole. During a developmental edit, you or your editor will pay attention to:
The genre: what kind of story is this? Is the genre clear from the start? (You can take the plot type test on The Write Practice to figure out your genre!)
The structure: is your manuscript structured according to the elements of storytelling? Are your ideas structured logically? (Read the Elements of Plot guide for some basics on story structure.)
The characters: are your characters fleshed out? Do they have goals? Do your main characters have a clear arc?
The theme: what’s the underlying message of your book? Why did you choose to write this particular story?
The point of view: what POVs are used? Is this the most effective choice? Is it consistent?
Expected plot points: each genre has its own set of plot points that the reader will expect. Does your book have these?
The setting: is the setting evocative? Do you use the five senses?
Plot holes and subplots: are there any plot holes? Do the subplots add to your main story?
I also like to make a distinction between developmental editing for your global story and for your scenes, as they require a different focus.
When you evaluate your global story, you keep the overarching plot in mind. When you evaluate your scenes, you only focus on your story on that level.
What is the difference between developmental editing for fiction and nonfiction?
Both fiction and nonfiction require developmental editing. They don’t quite work the same, though.
While developmental editing nonfiction and fiction focuses on the same things, those things become something a little different depending on the type of book. For instance:
The genre:
Fiction: mystery, crime, action, thriller, etc.
Nonfiction: memoir, self-help, how-to, big idea
The structure:
Fiction: the elements of storytelling, such as the inciting incident and climax
Nonfiction: the story should follow a logical progression that fits with the type of book it is
The characters:
Fiction: fictional characters who are thought up by the writer
Nonfiction: people who are used as an example by the author, the reader (in self-help books, for instance, the reader follows a character arc)
The theme:
Fiction: usually an underlying message about morality, growing up, self-discovery, etc.
Nonfiction: the message is often clearer and sometimes even stated within the book
The point of view:
Fiction: a lot of choices, but most often first person or third person
Nonfiction: different choices tied to the type of book. For instance, memoir is often in first person, and how-to books in second person
Expected plot points:
Fiction: story points related to the genre, such as a climactic battle, a lover’s meet scene, a murder to solve, etc.
Nonfiction: expected elements, like instructions in a how-to book, reflections in a memoir, or anecdotes in a self-help book
The setting:
Fiction: either real-world or fictional settings that the characters in the book inhabit
Nonfiction: real-world settings that are only described when essential to the reader. For instance, describing fitness devices in a how-to book for fitness, describing a particular cafe in an anecdote in a self-help book, etc.
Plot holes and subplots:
Fiction: a promise that isn’t paid off or something happened that’s explained after the fact. For instance, a romance subplot or mystery subplot that doesn’t move the main story forward.
Nonfiction: a term that’s mentioned but wasn’t explained or defined. A side-track to the main subject of the book that doesn’t add to that main topic.
As you can see, while the approach is more or less the same, the kind of things you pay attention to during a developmental edit takes on a different meaning whether your book is nonfiction or fiction.
What is the developmental editing process?
The process for developmental editing will look a little different for each writer and editor. So, I can only give you my process as an example:
Evaluate the story on the most global level (global plot, character arc of main characters, expected plot points, main genre, point of view, overarching theme).
Make changes based on this analysis.
Send my story to a developmental editor (because it’s always good to get a second set of eyes that’s more objective to the story).
Make changes based on my editor’s suggestions.
Evaluate the story on a meso level (three or four act structure, character arc and goal of main characters and important side characters, setting, subplots, plot holes).
Make changes based on this analysis.
Evaluate the story on a micro level (scene structure, character arcs and goals within the scene, setting and descriptions).
Make changes based on this analysis.
As you can see, this approach requires quite a few drafts. Your approach may be different. For instance, you might want to evaluate your story on the global and meso level first, make changes, and then send it to an editor.
Or you may want to send it to your editor before making any changes, or send it to beta readers for feedback after you’ve made your changes on a meso level (which is what I also sometimes do).
It might take some time to figure out your preferred process. If you’d like some step-by-step guidance, you can check out my playlist on YouTube that walks you through the steps from a first draft to a finished one.
When should you do a developmental edit?
You start your developmental edit right after you’ve finished your first draft. Don’t make the mistake of doing any line editing or copyediting (although fixing typos you notice along the way is fine, as they can sometimes distract as you read through).
It’s a waste of time, as you’ll likely end up making changes during your developmental editing process. It’s not uncommon to rewrite entire scenes, remove them, or add new ones.
I even have the unfortunate habit of changing the plot almost completely. Which essentially means I’ll write a new first draft. But you don’t have to do anything that drastic.
Also, if you want to get traditionally published, you shouldn’t skip this step. Publishers and agents generally want a manuscript that doesn’t require a lot of structural changes. They want something they can sell quickly. Good developmental editing will also increase your chances of finding an agent or publisher.
If you also want to hire a developmental editor (which I would recommend; it’s the most essential edit in my opinion), I would suggest doing so after you’ve made as many changes as you can yourself on the most global level.
That way, it’s not a completely messy first draft and you already have some in-depth insights about your story. But you’re still early enough that it’s easier to change anything that needs to be changed.
Of course, if you feel you’d rather hire one right after you finish your first draft or at a later stage, it’s perfectly fine to do so. Do what feels right.
Would you like some help with your developmental editing? Then this developmental editing planner is the one for you! It contains a checklist followed by detailed information and worksheets to perfect your developmental editing process.
Note: This planner is geared toward fiction editing. While elements can be used for nonfiction editing, I will create a planner that's specific for nonfiction.
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What can you expect from a developmental editor?
Each editor has their own approach, as it’s not as straightforward as fixing typos or spelling errors.
But, in general, you can expect:
Honest feedback. While an editor should never be cruel when pointing out potential improvements, it’s important that they’re honest about the things that are lacking in your manuscript.
In-depth knowledge of your genre. This is especially important for developmental editing. If your editor doesn’t know a lot about historical fiction, then providing proper feedback to turn your story into something great will be all the more difficult.
Clear communication. While all types of editing are a collaboration, this is the most important for developmental editing. You should expect clear questions and also clear answers to any questions you have. Their explanations for their suggestions should also be clear.
An editorial letter or report. A developmental edit can come with some in-line edits with tracked changes and some comments within the manuscript itself, but most of the feedback will appear in an editorial report. This is where the editor will highlight the good and the bad along with suggestions to improve any points and fix issues. An editorial report can range from 10 to 40 pages (I’ve come close to 50 as well). This also depends on the length of your manuscript.
One or more video calls. This certainly depends on the editor, but I find it essential to have a call with the client to walk through the report together and answer any questions they might have. This will help you gain a deeper understanding of the feedback and the suggestions.
Not sure if you have the budget for a developmental editor? I have an article right here that’ll tell you what to expect and what you can do instead to save some of your budget (like get a manuscript critique instead).
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