Do you want to help authors improve their novels? And earn money by doing so professionally?
If so, it sounds like you want to start offering developmental editing services. If that’s the case, I can help.
What is Developmental Editing?
Developmental editing is the first part of the editing process. It comes before the copy-editing stage (where you focus on the writing at the sentence level, helping the author clean up and tighten their prose) and it definitely comes before the proofreading stage (which is the final polish before publication).
A developmental editor looks at the story as a whole and figures out how it could be told better.
And I’ve created this course to teach you how to do just that.
“I found the course extremely enjoyable and informative and am very happy to recommend it. The weekly course notes were of great help while the feedback was both encouraging and constructive.”
– John Romans
The Crucial Trait Developmental Editors of Fiction Need
If you’ve been proofreading or copy-editing fiction for a while now, you probably have an intuitive understanding of what makes a good story – and a bad one. Even if you’re not already an editor and are simply an avid reader, you may already have that storytelling instinct. And you’ll certainly have that instinct if you’re a seasoned novelist.
But you don’t know how to translate that intuition – the feeling that something’s not quite right with this story – into useful information for the author. You want to be able to help the author tell the best story possible, but you’re just not sure how to advise them.
You know something’s not quite right … but what is it?
This course will help you move from an instinctual to an intellectual understanding of good storytelling.
And this is what will allow you to take what you know and apply it to novels in progress – it’s what will help you become a good developmental fiction editor, the kind of person who helps authors transform muddled manuscripts into sterling stories.
“Developmental Editing: Fiction Theory has already proved to be a great addition to my editorial armoury. Sophie’s advice is detailed and practical. I wouldn’t hesitate to recommend this course.”
– Nikki Brice
Who This Course is For
This course could be for you if:
- You’re already working as a copy-editor or proofreader and want to add developmental fiction editing to your skill set
- You’ve studied storytelling and literature from the perspective of a reader or writer and now you want to learn about it from the perspective of an editor
- You’re intimidated by the idea of working with fiction at such a crucial part of the process, but you’re also excited by the prospect
- You’re an avid, analytical reader with a love of literature and you want to learn how to turn your passion into something you can sell
This course probably isn’t for you if you’re not already wildly in love with literature and are not curious about how it works. The above traits will all stand you in good stead on your path towards becoming a developmental fiction editor, but more than anything you need to love reading.
Is that you? Then read on to find out how the course works.
“This course takes the vast, complex area of developmental fiction theory and breaks it down elegantly into manageable topics. You’ll look back at the end and wonder at how much you’ve learned. I wouldn’t hesitate to recommend Developmental Editing: Fiction Theory to editors, authors, or anyone with an interest in the craft of writing.”
– Cally Worden
“I’m so glad I decided to do this course. I have to say I deliberated for a while. Having been a proofreader for several years, I wanted to be able to offer more services, but wasn’t sure if this was the right step for me. However, I took one of Sophie’s other courses last year, so I knew her teaching style was friendly and engaging, and I decided to take the leap. The course has provided the heartening realisation that reading in the bath can actually be a job. It’s not magic and anyone taking the course will need to put in a lot of effort, but I feel I have learned a huge amount, I’ve got resources I can keep going back to (including a friendly community on Facebook) and have gained some really useful tools for developing my practice. Thanks Sophie!”
– Cathy Turner
How the Developmental Editing Course Works
In this 4-week guided online course on developmental editing, I’ll provide you with comprehensive written modules and weekly assignments, which I’ll give you detailed feedback on. Every week, I’ll email you with the course materials.
My goal is to teach you the absolute must-knows of good storytelling so you can take what you learn and apply it to manuscripts in progress (a different skill to reading an already-published novel that doesn’t require any more editing).
“Don’t hesitate! This course is excellent. The content is well-planned and the assignments are designed to help you apply and embed your learning. Sophie is very professional and great at giving critical feedback in a friendly and supportive way.”
– Catherine Walmsley
Here’s what you’ll learn:
Week 1: Introduction & Common Basic Manuscript Issues
- A thorough exploration of what it means to conduct a developmental edit
- Why reading is so important, and how to read analytically
- Why you need to read fast, and how to do so without missing crucial information
Common Basic Manuscript Issues
- The two main ways authors mess up their beginnings
- Stylistic issues authors should avoid
- How to help authors prevent narrative disorientation
- What you need to know to help authors write impactful endings
Assignment: Read the extract provided showing the beginning of a novel. Analyse how effective it is (checklist provided for assistance) and write up a short report.
Week 2: Dealing with Tangled Plots & Saggy Middles
- The difference between plot and story
- Why you need to know the nuances of genre
- How to analyse a three-act plot arc
- How to recognise and make use of the eight basic plots
- How to assess sub-plots
Assignment: Identify the plot points in one of the last books you’ve read and which of the eight basic plots the book falls into. Identify a sub-plot (if any) and analyse how it connects to the main narrative.
Week 3: Analysing Character & Conflict
- The main reason novels lack drive
- Why size matters (when it comes to the cast of the novel)
- Not all novels need a villain – here’s why
- Common dialogue problems to look out for
- How to recognise and advise authors when they use clichés
Assignment: Take two of your favourite novels. Describe the main character, their motivations and how they have changed by the end of the book. Describe the main antagonist and how they create conflict for the protagonist.
Week 4: The Common Thread – Meaning & Style
- Why a novel might lack coherence, focus or emotional impact …
- And how to help the author fix this
- Understanding the relationship between reader, writer and editor
- Things to consider about writing voice and style
- Course summary and next steps
Assignment: Identify the thematic questions of two novels. How important was the theme? In which ways did the author explore the main themes?
“Sophie is a witty and reassuringly clued-up guide to the intricacies of fiction editing, and has made learning some intimidatingly tricky concepts both illuminating and fun. The course was well-designed, concise, and comprehensive. It has fundamentally changed the way I think about stories, and is well worth your time.”
– Graham Clarke