If developmental editing helps shape a story and copyediting polishes it, line editing makes the writing come alive. Line editors listen to the music behind each written word. They consider the rhythm and cadence of a sentence or paragraph and ask how it meshes with the mood and tone of a scene or story. They look out for an author’s stylistic weaknesses but never override an author’s style.
This four-week advanced class takes your line editing skills even further to bring out the best in your clients’ fiction and creative nonfiction writing. Among other areas, we’ll cover some of the unique challenges of working with both distinct and indistinct authorial voice; look at mood, subtext, and subtlety; discuss line editing of sensitive material (e.g. in memoir); and consider how genre, pacing, dialogue, and dynamics play a role in determining your editorial approach to a piece.
NOTE: For part of the course we’ll be working with a continuous single manuscript. If you have a client manuscript you’d like to use rather than one of the options I provide, I’m absolutely open to that. Please let me know at the beginning of the class; and prior to the start date, please provide Christina Shideler in the EFA office with confirmation of client permission for you to use the manuscript in class.
Prerequisite: Intermediate Line Editing for Fiction & Creative Nonfiction; each class in the series builds on the last. For further questions, please contact the instructor (firstname.lastname@example.org).
Instructor Christina M. Frey, J.D. is co-executive of the Editorial Freelancers Association, a developmental/line editor and literary coach with Page Two Editorial (www.pagetwoeditorial.com), and a traditionally published graphic novelist. With over 20 years of experience in writing, editing, and publishing, she now works with select authors and small presses on full-length fiction and creative nonfiction. She specializes in helping both novice and experienced writers to develop and refine their authorial voice.