Editing Poetry and Creative Nonfiction

Different kinds of editing are appropriate for different stages of the writing and publishing process. The names traditionally used in the publishing industry are developmental (or content) editing, copy editing, and proofreading. Developmental editing is working with the writer to shape the writing toward the audience and make sure the parts work together to make a satisfying whole. I developmental edit poetry but not creative nonfiction. (Mind-body-spirit manuscripts are the exception.) Line editing, which is line-by-line editing of the text, is often something I do in the copy editing stage (though I’ve also done it at the proofreading stage, which is when the proofs come back from the production team and need to be checked). I do line edit poetry. I have also line edited creative nonfiction, most often memoir. I am particularly good at ensuring that my suggestions do not disrupt the writer’s unique voice, grounding dialogue with concrete details, noting inconsistencies, and helping writers with pacing.

I also copyedit poetry and creative nonfiction. Copy editing is the process of making the manuscript ready for the production process of publication. Copy editing’s traditional focus is correctness, consistency, and clarity. I also engage in some fact-checking. While I don’t think grammatical correctness is the most important value in voice-driven work like poetry and creative nonfiction, I do inform the writer what is considered correct, so they can make their own informed decisions about following or deviating from correctness in light of what’s best for the work.

Editing for consistency means following whatever dictionary and style guide (usually Chicago Manual of Style 18) is preferred by the writer or publisher, fact-checking place and product names as well as historical details (when appropriate), and making sure the manuscript is internally consistent. While I am not an authenticity/sensitivity reader, I do keep up on social justice issues in language use and publishing and flag any language that might have unintended consequences.

Finally, I edit for clarity, noting specifics that are unclear and making suggestions about clarifying, when appropriate (because confusion can be productive and intentional in a poem).

When I copy edit a manuscript, I make at least three editing passes and provide the writer or publisher with the edited manuscript, a style guide, and a detailed letter. The writer and I usually send the manuscript back and forth until both have made sure that the manuscript is ready for production. Poets and writers tend to like working with me (see the testimonials) because I take each of their words seriously and I am delighted to be part of the process of bringing their words to print.

Proofreading is reading the actual production copies (called proofs) to make sure that nothing was missed.

I have copyedited 20+ published poetry titles, several memoirs, and an essay collection. I have also proofread 25+ published poetry titles, several memoirs, an essay collection, and an anthology. For the complete list, click below.

To discuss copy editing, line editing, or proofreading your poetry or creative nonfiction, please contact me.