The Many Phases of Editing: Part 3

In this final installment on the Phases of Editing series, we'll cover the last few steps in the publishing process as it relates to editing. We've already covered developmental editing and alpha readers (here) and line editing, copy editing, and beta readers (here). Today, we're going to finish by talking about Formatting, Advance Reader Copies (ARCs), and Proofreading.

There are two models you can use when moving through the editing process toward publication. The first is one most traditional publishing houses use. The second is a modified version some indie authors use. These are the lists we're working off of to define terms, typical scope of the work, and why each step is a necessary part of the process.

Traditional Publishing Model:

Developmental/Structural/Substantive Editing
Line Editing
Copy Editing
Formatting
Advance Reader Copies Sent
Proofreading

Approximate Indie Author Model*:

Alpha Readers
Developmental/Structural/Substantive Editing
Beta Readers
Line Editing
Copy Editing
Formatting
Advance Reader Copies Sent
Proofreading

*Please note each indie author has their own model with more or fewer steps, or some steps in a slightly different order. There's no "one-size-fits-all" when it comes to a model for indie authors, though the principles and necessary editing steps are the same.

Formatting

This step should come only after all major editing is complete, including the copy edit. Changing portions of the manuscript after formatting affects the overall interior design of the book and how the pages flow together; changes, especially major ones, can change the size of the book, the way the words fall on the page, and introduce new errors that will pull a reader out of the story.

Formatting is also sometimes called interior book design because it deals with how the book looks on the inside. Though this step appears simple, a lot of nuance goes into the interior design to ensure the design itself is invisible to the reader, but enhances their reading experience. This step often deals with margin size, font size and choice, spacing, and any headers or footers necessary for the book.

Interior book designers also work with adding any images, such as chapter headings, graphs, or other images associated with the book. When adding images, they ensure the text will continue to flow correctly, whether in ebook format (variable depending on the device the reader accesses the book on) or print.

Formatters cover a lot of book design that's invisible to readers (and sometimes authors) but which makes the reading experience all the more enjoyable.

This is not the step where your work is proofread. A formatter doesn't read the text, merely crafts the manuscript into the final files that will go to the printer or be uploaded as an ebook. Once the book is formatted, it goes to the proofreader for the last, final check.

Advance Reader Copies

Once the book is formatted, it typically goes out to advance readers in exchange for honest reviews that will be posted on release day. This helps create buzz for the book, and spreads the word about your book before it launches. If you're gathering pre-orders, this is often a necessary step to drive other readers to order the book ahead of time.

Advance Reader Copies are typically sent after formatting is complete but before the final proofreading pass. Readers receiving the book (typically in an e-file format) understand the copy won't be entirely clean, as they're meant to help create buzz for the book, not edit it.

Some indie authors ask their advance readers to look for any errors (proofreader-style) and inform them, but I would caution against using only advance readers for proofing, as readers are only looking for errors in the text or egregious formatting errors. Proofreaders, as noted below, have deeper checks than readers can spot.

Proofreading

At the same time the book goes out to advance readers, it goes to the proofreader. Proofreading looks for errors in the formatting of the manuscript, and sometimes punctuation or spelling errors missed by the copy editor (it happens more often than you'd think, because our brains sometimes help us see what we think should be there rather than what is).

Proofreaders look for more than any final punctuation or spelling errors, or easily visible formatting errors. They also check for duplicate words beginning or ending a line of text, single words at the top/bottom of a new page, page number consistency, and spacing consistency. If you have a table of contents (ToC), they also check that the page numbers on the ToC page match the chapters, images, graphs, etc.

Proofreaders read the entire book, not just the main story from the manuscript, to ensure no major errors have occurred in the formatting process. They also check what's often called front and back matter. For front matter, they'll check the copyright page, the title page, etc. For back matter, they proof the author's bio and ensure consistency in any glossary, pronunciation guides, or anything else included at the end of the book.

A side note: If you hire the same editor for both your copy editing and proofreading, they'll likely request the manuscript in a different format for the proofread stage. As an editor who offers both copy editing and proofreading services, I prefer a physical copy of the book for proofreading. In a separate format or in a physical form, a proofreader can catch errors their eyes would normally skip over in a text document on the computer, because our brains fill in the blank or know what it should be, and it tells us that's what's there even when it's not (our brains are both amazing and weird that way).

Sometimes the titles of copy editor and proofreader are used to mean the same thing (often by authors, but sometimes by editors), but they are fundamentally different steps in the process. As stated in previous posts, ensure you understand what type of edit you're paying for and the editor's definition of the edit's scope. If an editor cannot clearly define what they include in the edit you’re asking for, do not hire them. You as the author are paying them for a service and deserve to understand the scope of the edits you're receiving and whether they're in line with what you're asking for. Editors familiar with the industry and different types of edits will be able to clearly define what they provide for each type of edit, and should be clear and upfront about those specifications.

The publishing process is one with a lot of steps, and much of that process includes various levels of editing. However, tackling each stage of the editing process—beginning with the big picture edit to solidify the story all the way down to the proofreader's final error check—will allow you to release a high-quality book you're proud of. Although many factors go into a book's success (cover design, marketing, etc.), a well-edited book is often cited as one of the major factors in a book's success. (Please note editing does not ensure any form of "overnight" success; however, it does lend a lot of credibility to your work and heightens a reader's experience.)

When the errors are removed and the reading experience is smooth and pleasant for a reader, they're far more likely to recommend the book to friends and other readers—and leave good reviews for any new readers considering your book. Yes, editing can be an expensive investment, but many authors find the investment is more than worth it in the long run.

I hope this series has been helpful in defining terms and clarifying what many of them mean (and how they're used interchangeably within the publishing industry). If you have further questions, please drop them below, and, if you found this series helpful, share it with your author friends.

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