This is the research that found by Melissa about the different edits:
THE DIFFERENT TYPES OF EDITING
Terms in editing can be confusing to a new author, especially because the terms are often used interchangeably and may have different meanings within the industry. However, here are the most widely accepted terms and their meanings. When hiring an editor, always speak to him or her about exactly what the editing includes.
COPYEDITING
Copyediting, commonly called line editing, is a light form of editing that applies a professional polish to a book. The editor reviews your work, fixing any mechanical errors in spelling, grammar, and punctuation. Copyediting is the least-expensive version of editing.
Some professionals divide copyediting and line editing into two separate edits, copyediting being the lighter, grammar-only edit, and line editing being a more intense look at each sentence’s meaning. Always clarify with your editor what is included in his or her copyedit to be sure.
LINE EDITING
Line editing is often used interchangeably with the term copyediting. However, when it is distinguished from copyediting, it refers to a unique edit that falls between copyediting and developmental editing in intensity. In line editing, the editor looks at your book line by line and analyses each sentence. The editor considers word choice and the power and meaning of a sentence. The editor considers syntax and whether a sentence needs to be trimmed or tightened. Line editing helps to makes your prose sing.
MECHANICAL EDITING
Mechanical editing refers to the application of a particular style, such as The Chicago Manual of Style or Associated Press (AP) Style. The editor looks at punctuation, capitalization, spelling, abbreviations, and any other style rules. Mechanical editing is sometimes included in copyediting.
SUBSTANTIVE EDITING
Substantive editing considers a work’s organization and presentation. It involves tightening and clarifying at a chapter, scene, paragraph, and sentence level. Unlike developmental editing, which covers the big-picture issues and deep-level restructuring, substantive editing deals with the actual prose. Substantive editing is sometimes referred to as line editing and can also be confused with developmental editing. Always check with your editor and put in writing what his or her services cover, regardless of the term used.
DEVELOPMENTAL EDITING
The developmental editor looks deeply at the organization and strength of a book. Think big picture. The editor considers everything from pacing to characters, point of view, tense, plot, subplots, and dialogue. Weak links are exposed and questioned. The editor scrutinizes order, flow, and consistency. He asks questions such as: Is this the right number of chapters? Are the chapters and paragraphs in the right order? Are there any places in the book where the pacing lags? Is there a hole in the information or story presented? Are the characters likable? Developmental editing considers all the aspects of a manuscript that make the book readable and enjoyable. Because of the extensive nature of this form of editing, it is more time intensive and costly. However, it is worth the investment if you are serious about succeeding as an author.
The information from:
https://www.archwaypublishing.com/Resources/Editing-and-Design/The-Different-Types-of-Editing.aspx
Different Types of Edits
Manuscript Critique —> Comprehensive Edit (Line Edit) —> Copyedit —> Proofread
Manuscript Critique
The manuscript critique is a general assessment of your manuscript. It’s a bird’s-eye view of your entire story. Your editor looks at your manuscript as a whole and provides actionable advice on how to improve your story—in the form of an editorial memo.
Here’s what you may find within an editorial memo:An examination of your narrative voice and ways to enhance it
- Specific advice on how to improve the plot to keep your readers engaged
- Feedback on where you’re missing opportunities to develop your characters
Comprehensive Edit/Line Edit
While a manuscript critique is an entry-level type of edit that can help clarify your story, a comprehensive edit (which includes a line edit) is the most in-depth edit offered.
It addresses structural issues, similar to a critique, but here the editor is also doing a line edit.
A line edit addresses your writing style and language use at the sentence and paragraph level. The purpose of a line edit is not to comb your manuscript for errors—rather, a line edit focuses on the way you use language to communicate your story to the reader. Is your language clear, fluid, and pleasurable to read? Does it convey a sense of atmosphere, emotion, and tone? Do the words you’ve chosen convey a precise meaning, or are you using broad generalizations and clichés?
A line edit may get you to say, “With a few strokes of the pen on each line, [my editor] made it one million percent better. I couldn’t believe that such tight, measured prose was lurking inside my overwrought sentences, and frankly I had no idea how in the hell she did it.”
Many authors misunderstand the difference between a line edit and a copyedit. There are similarities between the two: both pay detailed attention to your use of language and involve a mark-up on the pages of your manuscript. But make no mistake, these are two completely different processes, handled by professionals with different skill sets, and should occur at very different times during the editing process.
The goal of a copyedit is to address flaws on a technical level—to make sure the writing that appears on the page is in accordance with industry standards.
- Corrects spelling, grammar, punctuation, and syntax
- Ensures consistency in spelling, hyphenation, numerals, fonts, and capitalization
- Tracks macro concerns like internal consistency.
There will be some overlap between the work of a line editor and a copyeditor. Most line editors will point out technical errors or logical inconsistencies when they jump out, because they’re trying to make your writing better, and editors tend to be perfectionists.
So, to make a sweeping and totally reductive generalization, the job of an editor is to help you tell a better story, and the job of a copyeditor is to make sure the grammar on every page is correct.
In publishing, proofreading happens after the manuscript has been typeset. A final copy of the manuscript, or proof, is then examined by a professional proofreader.
The proofreader corrects awkward word or page breaks and may do some light copyediting.
Professional proofreading is required by traditional publishers as a quality assurance measure. Many self-publishing authors who have had their manuscript professionally copyedited tend to skip the proofread. If you’re on a budget, you might try to proofread your own work, since there won’t be as many errors to contend with at that stage.
In sum, working with a
professional editor is both a challenge and a joy. It forces you to face the ho-hum aspects of your manuscript and turn them into a hell-yeah! But, most of all, the work you do with an editor will help you become a better writer in the long run. You’ll hone your skills and will carry those lessons with you to future books.
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