Substantive Editing Versus Developmental Editing

Editors are notorious for having many names for subtly different kinds of editing — line editing, stylistic editing, substantive editing and copyediting.

This article focuses on substantive editing. It’s my favourite service, and I believe it provides the best value to both academics and fiction authors.

Developmental editing: A new name for substantive editing?

Editor and author Jessi Hoffman describes how, in the mid-twentieth century, “a developmental edit meant … the editor helped the author plan, outline, and structure the book. [It]  took place before pen was set to paper, or shortly thereafter.”

At that time, she says, substantive editing meant marking up a manuscript and making macroscopic content and stylistic edits. These edits improved a text substantively.

Hoffman describes how, from the internet era onward, authors began referring to substantive editing as developmental editing; an initially incorrect name that stuck. I use the term substantive editing to refer to a combination of developmental editing and line editing.

Substantive editing for cultural anthropologists

When I first started my editorial business in 2019, most of my work was for multiliterate cultural anthropologists and other academics who often asked for “proofreading,” even though many needed something much heavier. Interventions ranged from a light combined line and copy edit to reconstructing voice and rewriting. I’ve since become highly selective about the academic editing projects I accept, focusing on developmental and substantive editing, learning the latter through Theresa Theraux-Gischler’s work.

Substantive editing for academics: A possible workflow

I begin with a single-pass stylistic edit of the entire text. This is relatively straightforward for me and allows me to reflect on and think about the text, although it’s sometimes limited by slow reading and the focus on stylistic and technical aspects required in a line edit.

The second, final pass involves a more holistic read-through where I assess how the text hangs together as a piece of writing. Typically, I:

1. suggest insertions, for instance, to clearly state a theme or argument by highlighting, colouring or tracking.
2. suggest deletions by colouring it and leaving a note. I use red to indicate a strongly suggested deletion, or orange if the text could be shortened or deleted, allowing the author to assess and decide.
3. insert comments suggesting possible tweaks, alternative ways of stating points, or developmental issues for the author to consider.

This second pass provides more value for most clients, rather than simply a final read-through to identify remaining typos. However, this service is best for clients whose manuscripts will undergo a light copy edit organized by the publisher.

Substantive editing for fiction authors

I also edit fiction, and I’ve completed a couple of substantive edits, but with a few caveats. First, fiction authors often want a more “hands-off” approach because their writing style and content is often (not always!) more personal and vulnerable than that of the average academic writer. A manuscript is every writer’s baby — but even more so for many fiction authors. Exceptions here might include a highly experienced writer focused on commercial writing, or someone who works in a writer team. Occasionally, though, fiction authors do let me complete such an edit. A calibration check (sending the author a sample) is important here, but then it can be a lot of fun!

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