Developmental editing is a big investment, one that can be wasted if the manuscript isn’t ready. And yet for many writers, answering the question of when the draft is ready can be a difficult one.

What does “ready” mean?

“Ready” means that you have taken a manuscript as far as you can on your own (with your current skill level as a writer in mind).

All writers are at different stages in their writing journey. Someone who is brand new to writing and understanding plots and character arcs may not feel confident enough to revise as thoroughly as someone who has written multiple books and been through the rounds of editing before. And that’s OK. (See my previous post on when to hire an editor and the importance of understanding your own limits.)

The checklist below is a list of things for you to consider, while being mindful of what you do and don’t feel comfortable addressing on your own. If you hit every piece? Great. But some of these pieces are easier than others, and if you feel you don’t know what you need to in order to properly evaluate something, then that’s something to note for yourself and for editors.

The idea behind getting a manuscript ready for editing is to simply take things as far as you can on your own so that you know you are hiring a professional when you need them.

Checklist: Preparing for Your Developmental Edit

1. Finish the book.

It seems obvious enough, but to receive a proper developmental edit, the story should have a beginning, middle, and end, with no major missing pieces in between.

I’ve received manuscripts I was told were done only to find notes from the author (to themselves) regarding things to connect or fill in. I’ve also had authors reach out for an edit while still in the early drafting stages before they even really had a firm grasp of the concept. And while there are editors—myself included—who may help at that stage, it’s likely going to be a different service (ghostwriting, book doctoring, coaching, discovery draft evaluations, etc.).

2. Take a step back.

Allowing yourself time and space from the manuscript for even a few weeks gives you the opportunity to gain a new perspective on where the manuscript may need some love and care. (Said another way: it lets you forget enough that you may see where the gaps are!)

3. Complete at least one round of revision yourself.

Depending on how you work, this may mean one thorough read through of the manuscript with a good list of things you want to check by your side, or it may mean multiple reads through with each one focusing on one thing from that list. If you’re not sure what you should you be looking for as you revise a first (or second) draft, here are a list of things to consider:

• Is it clear what the motivations/desires of my main character(s) are?
• Are the stakes high enough? Are they clear early enough in the story?
• Are POV and tense consistent throughout?
• Are the right characters shining through? Are they round or flat? Do they have an arc that feeds into (and is fed by) the plot? Do they experience change? Is there balance between dialogue and interiority?
• Does each scene or chapter serve or advance the plot in some way? If not, can it be adjusted to do more, or should it be cut?
• Are the scenes all action or is there also time for reflection? (That is: is there some balance between scene and sequel?)
• Note context clues about locations and timing. Do they make sense and line up? (This is particularly important if chapters have been moved around—I’ve witnessed dead characters come back to life this way!)
• Does the ending answer the stakes and needs established in the beginning?
• Were any promises made that were not fulfilled or answered?

4. Consider reverse plotting.

If you’re struggling to separate yourself from what you know and what’s on the page, reverse plotting can help identify those timing issues, plot holes, and those dead chapters or scenes.

5. Trim the fluff.

If your word count is high and you’re worried about bloat, there could be a number of things happening: scenes and chapters that aren’t advancing the plot (hopefully identified in step 3); unnecessary or repetitive descriptions, thoughts, ideas, etc.; or fluff words. Common filler or fluff words to look out for include qualifiers (really, very, just, actually, literally, pretty), redundancies (nodded her head or shrugged his shoulders instead of nodded and shrugged, or end result instead of result), etc.

(If those qualifiers feel familiar, Lose the Very is a great website for finding stronger word choices.)

6. Run a basic spelling and grammar check.

Use programs with assistive AI, not generative, and use your own discretion when accepting or rejecting the “fixes.” This is so easy and yet it’s often overlooked. While a copy editor or proofreader is ready for these types of errors, for a developmental editor any egregious spelling errors or grammatical issues are still distractions that can slow things down.

It’s important to note that no one is expecting perfection here. This is a simple check to catch the most obvious issues.

7. Do one final, slow read.

Ideally, read the manuscript out loud or have a program read it to you if you can. If you can’t read the text out loud, try changing it up in some way to cause a little switcharoo for your mind—reading it from your e-reader, changing the typeface, printing it out versus reading it on a screen, etc. Reading the manuscript in a new way or hearing the text out loud slows you down and can help identify any remaining hiccups in the text.

Wrapping Up

Again, how much you are able to accomplish with this checklist entirely depends on your own current skillset. It’s okay if you’re unable to detect if the motivations and stakes are coming through strongly enough and need help with that. It’s okay if you’re not sure if a scene is doing enough. 

The idea is not to overwhelm yourself. It’s to do as much as you can do comfortably so that you know the investment you’re about to make will deliver what you truly need.