The Road Through Revision: How to Get to a Completed Manuscript

Buckle up, we’ve got a long road ahead of us!

The road to publishing your book may look different from book to book, author to author, but it helps to have a clear map to navigate you through all of publishing’s twists and turns. There may not always be an ETA to count down how long it will take you to publish your manuscript, but there should always be an end destination that you’re moving towards. No matter how little the step or how big the leap, every movement toward publication is valuable to reaching your author goals.

Whether you’re self-publishing or hoping to secure a traditional book deal, there are a few essential steps you’ll need to follow. Below, I’ll discuss a 6-step process to publishing your manuscript, along with two extra bonus stops. There’s a lot that goes in to publishing a book, and this isn’t nearly a full estimate of everything that an author needs to do, but it’s a good starting point for authors looking for a little guidance.

1. ROUGH DRAFTS

Whether it takes you three drafts or three hundred, writing your rough drafts is probably the longest and hardest part of your road to revision. Your direction will probably get rerouted and you might have to stop along the way to refill your creativity tank, but what matters is that you keep driving toward the end.

I often find rough drafts to be the hardest part of the writing process. I’m a perfectionist when it comes to my writing, and I have a bad habit of contemplating how to craft the perfect sentence before I even type out the words. It could take me hours just to write half a page! But the good news is that rough drafts are meant to be exactly that—ROUGH. This step wasn’t created for perfection. It was created for you.

If you want to add a scene with magic-wielding ducks into your historical fiction novel, go for it! If you want to kill off your protagonist, then off with his head! No one will ever have to know except for you. What I’m saying is, you can’t truly know the possibilities of the characters and the world you’ve created until you’ve pushed them around on the page a couple of times. So don’t be afraid to write, rewrite, and then rewrite again. Give yourself some grace and remember that great things grow over time.

2. HIRE AN EDITOR

Once your fingers are sore and you can’t possibly think of another word to write, it’s time to find your perfect editor and send off your pages. You can do a lot of revision work on your own, but unless you’ve really nailed down your story craft elements and mechanical editing rules, you’ll want to hire an editor.

Why hire an editor?

An editor is perhaps one of the greatest resources you can have in your revision toolbox. Often, authors are too close to the pages to recognize the holes and loose ends, so editors act as an objective second pair of eyes to critique and refine the manuscript. At the end of the day, an editor’s job is to make your manuscript easily readable for your audience—because if it’s not your editor catching your mistakes, it’ll be your readers. We’ve all caught that pesky typo in a book before. It trips us up for a moment, but then we keep reading on. Readers want to get lost in a book, but every mistake pulls readers further out of the story. If your manuscript isn’t readable, then your story won’t be able to reach the audience that you’re writing for. Editors ensure your book is revised to perfection. Send an inquiry to reserve a slot in my schedule.

Self-Publishing

If you’re self-publishing, you’ll have to find and hire an editor that shares your vision for the manuscript. These days, you can find editors on a variety of online platforms: Google searches, Instagram, Fiverr, Upwork, or online directories (like the EFA’s job postings). When you’re searching for an editor, you’ll want to focus on three factors:

1. Is this editor qualified to give professional feedback?
2. Does this editor have a good understanding of the vision for my book?
3. Are this editor’s prices within my budget?

When you’re thumbing through editors, you can look for a couple things to ensure the editor has the credentials to professionally help you, such as a degree, certification, or professional work experience in the field of editing. You can also ask if they’ve been trained in using style books (e.g., The Chicago Manual of Style) or belong to any editorial associations. Know the difference between enthusiastic readers giving feedback (beta readers, see bonus stop) and a qualified editor.

You’ll also want to make sure you and your editor have a compatible working relationship. Before committing to an editor, ask them for a sample edit or request a meeting with them. You want to have an editor who is passionate about serving you and your story, as well as understands the vision you have for the book.

Inevitably, hiring an editor requires a cost to the pocketbook. Too many self-published authors skip hiring an editor because they don’t want to spend the money, but budgeting for an editor is an investment that will pay you back in the long-run. It goes back to readability: if your manuscript is easily readable, you’ll draw in a larger audience to buy the books. Find an editor whose prices are reasonable for your budget and for the amount of work they’re willing to put into your manuscript.

Traditional Publishing

Even the most renowned authors have editors to help guide them through revision. If you’re on the path to traditional publishing, most publishing houses have editors that are free to you as a resource. However, some traditional authors still hire an editor pre-publishing house, especially if they’re a new author. In fact, one of my reoccurring clients always has me do a sweep through his manuscript before he presents it back to his publishing house. It might seem counterintuitive to hire an editor if you’re trying to get published, but having a manuscript that’s already been critiqued and revised might increase the chances of your book being picked up for publication. Your story will already be solid and your manuscript will be clean, which—for agents and publishers who are already getting hundreds of submissions—will make it easier for your manuscript to stand out.

3. CONTENT EDIT

After hiring an editor, you’ll want to start with either a developmental edit or a manuscript critique, which are both edits that analyze the content of the story. You should always hire for a content edit before a copy edit because the content of the story will evolve and change during revision, meaning that paragraphs or even entire chapters may be added or deleted. Looking at mechanical mistakes first will only create more work for you and your editor.

So if you’re hiring for a content edit, what exactly does that mean? The purpose of a content edit is to develop the story craft elements of your novel in a way that will match your vision to what’s actually on the page. This includes—but isn’t limited to—strengthening the plot, character development, worldbuilding, conflict arcs, pacing, and voice. So basically, this edit is meant to help refine your manuscript into a story that is unique, memorable, and relatable to your readers. So for instance, if your protagonist doesn’t have a clear goal and motive to drive the story forward, it is the job of the editor to help the author tease that out. The editor will make a critique or suggestion to fix the troubled area based on what they already know about the character. It’s important to remember that just because the editor gives a critique doesn’t mean the author has to accept it. At the end of the day, you are the author of the story. The editor is just merely there to give suggestions from the lens of a reader.

There are various terms used for content edits, but generally, editors refer to these type of edits as either developmental edits or manuscript critiques. At Fiction & Fable, I distinguish these two content edits by the depth of feedback the editor provides the author.

Developmental Edit

A developmental edit is a more thorough, in-depth pass through the manuscript. I work hard to give my authors as much feedback as possible, which is why this edit includes multiple editing sheets. When I revise a manuscript, I scrutinize every detail of the story to ensure it’s consistent, complete, and linear. I like to think of the editing sheets I provide for my clients in terms of a pyramid—from feedback that is broad across the entire manuscript to line-level suggestions that focus on the minor details of the story. In a developmental edit, nothing will be overlooked or undiscussed.

1. In-text edited manuscript: This editing feedback is the most narrowed in because it focuses on in-text specific passages. Feedback usually comes in the form of sidebar comments to draw the author’s attention to the exact words the comment is referencing.
2. Chapter analysis sheets: The majority of the work I do is within the chapter analysis sheets. For each chapter, I analyze the purpose of every scene and how it moves the story forward. I also discuss how to troubleshoot any weak spots by writing out my feedback as concisely, yet conversationally as possible so that I can provide the author with 1) suggestions for fixing the issue, and 2) explaining my reasoning for the critique.
3. Story style sheet: The story style sheet is a record of the details that make the story unique. This sheet is meant to help the editor and the author keep track of character attributes, major plot points, and other important elements that should remain consistent throughout the manuscript.
4. Editorial note: The editorial note is a big-picture analysis of the manuscript as a whole. This note will identify the major story craft problems and provide suggestions on how to fix them.

Manuscript Critique

A manuscript critique is a less intensive version of a developmental edit. While it does look at the story craft elements, rather than having an in-depth analysis at the chapter and line levels, you are only getting an analysis of the novel as a whole. You don’t get nearly as much feedback, but if you are looking for an overview of what elements could be strengthened, then this might be the level of editing you want to invest in. This type of edit is also great for authors working on a tight budget, as manuscript critiques are generally cheaper. At Fiction & Fable, I do a flat rate of $250 or $450, depending on the word count range. Keep in mind though that some other editors will market their manuscript critiques differently and will have price fluctuations based on word count.

(BONUS STOP) BETA READERS

A lot of authors send their unfinished manuscripts to beta readers—a group of readers who voluntarily give their feedback on unreleased manuscripts. Authors often send out advanced copies of their work in the hopes to gain the perspective of the average reader. I note this to be a bonus stop because it is up to the author how much feedback they need to feel confident in their revisions. If you want a few extra set of eyes on your story before you finish up the story content, then go for it!

Can I just use beta readers instead of hiring an editor? While they do technically give content feedback, it isn’t recommended that you substitute beta readers for an editor. Beta reader feedback is meant to be a look into your audience’s reaction, not professional guidance for troubleshooting your manuscript’s weak spots. If you want to give your manuscript the best chance to become a strong, high quality book, your best bet is to hire an editor.

4. COPY EDIT

Now that you’ve revised the story content to perfection, you can send your manuscript back to your editor for a copy edit. Ideally, you’ve found an editor who you trust to do both type of edits and won’t need to hire another editor.

A copy edit is a sweep through the manuscript to cleanup any grammar, punctuation, word usage, consistency, structure, or mechanical errors. This edit ensures that your manuscript is easy to read and follows the rules of standard English. All editors should follow a style guide to help them understand the general rules, and if they don’t, it’s probably time to search for a different editor. No one can remember every rule in the book, so referencing a particular guide is essential for recognizing and correcting these mistakes. I use The Chicago Manual of Style, as do most other editors, though large publishing houses often have their own style guides that they abide by.

Copy edits also usually include two rounds of edits. The first round is meant to be a heavy, thorough sweep through the manuscript to correct any and all errors. The editor should be using tracked changes so that the author can review and either accept or reject every change before it’s finalized into the manuscript. Regardless of whether it’s a content or copy edit, the editor should never make changes to the manuscript without the approval of the author. Review the edits carefully to make sure that every change remains aligned with your intended meaning.

The second round of copy edits is less intensive as the first round, as it is generally used to catch any lingering mistakes that weren’t caught during the first round. Unless there were some major changes to the manuscript during the first round, the second pass through should be easy breezy.

5. BOOK DESIGN

If you’re self-publishing, this might be your last stop before publication. If you’re traditionally publishing, your publishing house will provide these services for you, so you don’t need to outsource. This is the time to finalize your manuscript into an actual book—where you’ll format the pages, adjust the margins, and visually prepare the book. Some editors also offer these services (Fiction & Fable does not), though you will likely need to outsource this to a different professional. A lot of authors do, however, learn how to proofread and format their own work. With a couple of YouTube tutorials and some practice, I’ve seen a lot of authors teach themselves how to create flawless pages. There are three processes of work you’ll need to do:

Formatting

Formatting is one of those revision tasks that authors can easily teach themselves. For the most part, you can format your manuscript in Microsoft Word and convert the page proofs—the printed page version of your book—to your publishing platform. You should reference the guidelines of your platform before jumping straight into formatting. So for instance, if you are publishing with Kindle Direct Publishing (KDP), then you should research their print options before styling your pages. Below are a couple of standard rules to follow with formatting your manuscript.

1. Trim size is generally 5”x 8”for a paperback and 6” x 9” for a hardcover.
2. Use a larger inside margin to account for page binding. Outside margins should be smaller.
3. Use page breaks for the end of each chapter.
4. The standard font is Times New Romans, set at 12 points.

You can find a more comprehensive list on the KDP website or find a YouTube video to walk you through the process.

Once you have finished formatting, it is recommended that you order a page proof copy from your publishing platform to make sure the online version translates to a presentable printed version.

Cover Art

Designing your cover art is, in my opinion, the most fun part of completing your manuscript. Your book cover is a visual representation of the magic you’ve created inside the pages. It’s what draws your readers to pick your book off the shelf.

There are plenty of artists you can choose from to commission your cover art, but it’s worth looking for artists who design artwork specific to your genre. An artist who specializes in historical fiction might design a very different cover from one who specializes in fantasy. Every book cover has defining characteristics that signal its genre, so it’s important to find an artist who can visually market your story to your target audience.

Proofreading

Most people use the terms editor and proofreader interchangeably, but they are actually very different job titles. A proof reader readies the page proofs of your manuscript, meaning they correct errors that have occurred during the typesetting or formatting stage. They’ll be checking for consistency in your scene breaks, margins, and page numbers, as well as making sure that the front and back matter of your book are on the correct facing pages. There’s a lot of fine detail that goes into proofreading, and this should be the last bit of business that you do before sending your book out to readers.

(BONUS STOP) AGENT QUERIES

If you’re veering off to traditional publishing, you’ll probably skip the formatting and drive straight through to looking for an agent. An agent is the middle-man responsible for connecting authors with the publishing houses. They also represent the author’s interests in negotiating and signing book deals. Basically, they guide the trajectory of an author’s career.

But how do you obtain an agent? First, you have to send query letters. A query letter is a brief introduction to your manuscript that is meant to convince an agent to represent your book. An agent wants to know that your story will not only be enticing to readers, but will also be marketable enough to make money. Your payout to your agent is a percentage of the book advance you receive from the publishers, which is all dependent on the projection your book’s sales. That being said, an agent is more likely to accept manuscripts that are going to cut higher advances, so it’s important that you emphasize your book’s unique attributes in the query letter. A general rule of thumb is to structure the letter as the cover synopsis you find on the back of a book.

A query letter should contain these three elements:

1. Who is your protagonist? What’s special about them? What is their quest?
2. A quick synopsis of logistics: word count, genre, similar titles, marketability
3. Author bio

You’ll want to query agents that represent authors with similar work to your own. Research agents in your genre and try appealing to them before expanding your search outward.

6. PUBLICATION

It’s time to pop the champagne—you’re officially an author of a book! Whether you signed a contract with a publishing house or are self-publishing your manuscript, all of your hard work is about to pay off. Your story is ready to change to the world!

If you’re self-publishing, there’s a few different publishing platforms you can upload your manuscript to. The two most popular self-publishing platforms are Barnes and Noble Press and KDP through Amazon. Both of these are Print on Demand technologies, meaning that a copy of your book is automatically printed after every online sale, if you choose to set that up. This is great for authors because that means you don’t have to send for a copy every time someone hits that buy button. Another platform that’s been gaining a lot of traction is IngramSpark, but for our purposes, we will just be focusing on B&N Press and KDP.

A crucial part of choosing which platform to sell your book is understanding how to reach your target audience. You need to know where your audience is most likely to buy your book compared to the value that each publishing platform provides. You need to consider exclusivity (where you can publish), royalties (what you get paid), and distribution (what formats you can use).

Exclusivity

A platform’s exclusivity requirements dictates where you can publish your book. So for instance, KDP offers a Select program, which means that your e-book (this does not apply to print copies) will receive more exposure in exchange for being sold exclusively on Amazon. This means that Amazon will promote your book for a 90 day period—and auto-renew unless you deselect the program—as long as you agree not to publish an electronic copy of your book to other platforms. B&N Press does not require exclusivity, so you can sell your book electronically on both platforms if you want to. The drawback of this, however, is that B&N Press does not offer an exclusivity program to promote your book. You’ll need to evaluate if your book is more likely to sell through heightened exposure or abundance of distribution.

Royalties

Now let’s talk about the green stuff—money. You’ve worked your butt off to turn your manuscript into a book, so it’s time you get a little return on your investment.

Whether you’re self-publishing or traditionally publishing, a percentage of your books’ sales will be cut into royalties. The royalties are the amount that you, the author, earn in the sales of your book. The other percentage will go to the publishing platform, or in the case of traditional publishing, the publishing house and literary agent. B&N Press offers a flat rate of 70% in royalties for e-books, no matter your book’s price. KDP, on the other hand, offers royalties based on how willing you are to comply with their market prices. If you price your book between $2.99-$9.99, then you will receive 70% in royalties. However, if your price is outside of that range, you only receive 35%. KDP does this because they know that customers are more likely to buy a Kindle edition book if it is priced at a lower rate than what a traditional book goes for. This is a great strategy for authors who are trying to increase their sales numbers, but not necessarily for authors who are interested in earning a higher profit on a single book.

Distribution

Both B&N Press and KDP offer e-book and paperback distribution. As of right now, only B&N Press offers hard cover options, though KDP is working on some beta formats. Authors tend to agree that B&N Press has a command over the print distribution of flexible formats and high quality cover work.

Neither platform currently offers audiobook distribution.