Q&A with editor Rachel Rowlands

1. Could you give us an insight into your approach to fiction editing? When you receive a new manuscript to work on, where do you begin?

It depends on the type of editing I’m doing, but for a critique or giving developmental feedback, I start by preparing a list of all the areas of the story I need to look at (such as plot, structure, characters and so on). I’ll also make sure I note down what the author’s goals are, because it’s useful for me to have that in the back of my mind while I’m assessing a story, so that I can best guide them. An author who is preparing to submit to literary agents might have different needs to one who is going to self-publish their work.

When I’m prepping a manuscript for something like a copy or line edit, my first step is to run a series of broader checks: things like the spellings of names, hyphenation choices, and stylistic choices the author has made, etc. This is helpful for me to do because I can make any broad consistency changes all at once. I’ll then create a style sheet so I can keep track of all of this, and any extra decisions or wider continuity errors the author needs to address.

2. Is there a checklist of things you look out for in a manuscript?

There is one major thing I always look out for regardless of whether I’m providing story feedback or copyediting, and that’s making sure the book fits the target audience. If you’ve got lots of swearing in your middle grade book, for example, or lots of chapters from the perspective of adults, that’s going to make it unsuitable for your audience, and that’s something that will need revising.

Aside from that, when I’m doing story feedback, I usually look at these key areas and how I can help the writer improve them:
-    The plot and structure
-    Stakes and tension
-    Pacing
-    Characterisation (especially making sure protagonists are active and have clearly defined goals), relationships
-    Narrative elements (exposition, purple prose, dialogue, point of view and head-hopping)
-    Setting/world-building
-    Target audience

3. Does your approach to editing change when you work on manuscripts in different genres?

Yes! I have to have the conventions of the different genres in mind when I work. If an author has written a romance novel, I’m going to be making sure they have hit on the right beats and the expectations of that genre. If they have a sad, tragic ending, it’s unlikely they’ve written a romance, as there’s an expectation that romance books have a happily ever after.

For some genres, my approach has to become more intense and methodical: if I’m working on a long and complex fantasy novel, there will be more elements to keep track of than a short book set in the real world, and I’ll probably need to keep more lists and ask more questions.

4. What attributes do you think every editor (of fiction) should have?

A keen eye, and a passion for stories. I think most of us get into fiction editing (and writing) because we love stories. That drives you to help an author create the best version of their vision.
 

5. What advice would you give to those looking to develop a career in editorial/freelance editing?

Read and learn as much as you can, both fiction books and non-fiction about writing craft and editing. There are some great resources out there for developing the skills you need, from books and courses to blogs and podcasts. 

Freelancing also means having a business, which can seem scary, but there are places you can go for support and advice. I recommend joining organisations aimed at editorial freelancers, where you can get information and network with others who are working on fiction.
 

Rachel Rowlands is a professional member of the Chartered Institute of Editing and Proofreading, and has worked on over a hundred books for publishers and authors since becoming an editor, including award-winners and bestsellers. She holds a BA (Hons) in English and Creative Writing and numerous editing and proofreading qualifications from both the CIEP and The Publishing Training Centre. Her client list has included Hachette UK’s Bookouture, Black Library (Games Workshop), Canelo, and Hashtag Press, as well as independent authors. 

Rachel works on adult, young adult, and middle grade fiction. She is particularly fond of fantasy, science fiction, and horror, but has also edited thrillers, crime, and romcoms, and some creative non-fiction. As a writer herself, she understands the struggles authors face, and combines her editorial and writing experience to support novelists every step of the way. She loves being part of shaping a story and helping to bring an author’s vision to life.