If this service is more than your or your budget can take on right now, consider a manuscript critique, which is a one-pass global critique of your book. You’ll likely get an editorial memo responding to the book as a whole but not any editorial work in the manuscript itself. This service usually costs less than a full developmental/structural edit.
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Now…does it sound like you? Does each sentence and paragraph flow well into the next? Does it march, pop off the page, shine or shimmer, glide, or flow in the way you want? Are the tone and quality of writing consistent? Have you kept your reader engaged and ensured they won’t trip anywhere along the path?
Call a line editor (sometimes called stylistic editor)—friend of fluidity, rhythm, readability, and concision! They will go line by line, word by word, helping you make all these dreams come true.
After working with a line editor, you'll revise revise revise! Then...
Are all your details consistent (like, really, ALL your details)? Are your grammar and punctuation in order?
Call a copy editor—friend of cleanliness and correctness! May we all bow down to the good copy editors of the world, sensitive and knowledgeable folks who whip your manuscript into shape on usage, internal consistency of facts and details, grammar, spelling, etc. This is really essential cleanup, folks. (Though I carry some habits and skills of copy editing into my line editing work, I no longer offer this as a distinct service. But I can refer you to some top-notch copy editors.)
You will accept/reject a copy editor's changes, but this is usually a final touch up. If you revise after a copy edit you may be introducing new errors, and everyone will go crazy.
Other important kinds of editing at this level include sensitivity editing (for bias, inclusivity, etc.), technical editing (for technical correctness of instruction manuals and the like), fact checking (often lumped in with copy editing, but actually a separate, critical task). Some editors combine sensitivity editing and copy editing; ask your editor about it.
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"One of the main features of this book that I hope will distinguish it from mainstream immigration narratives is the specificity of the characters and the highly detailed level of reporting. So it's important to me to strip it of any cliche while making the characters and descriptions as vivid as possible.... That also means - as I'm sure you well know - that nothing can be invented to make a 'better' story.
"I'm also aware that the number of times I've reorganized this chapter…has probably led to some awkward transitions. So please keep an eye out for the movement between paragraphs to see whether I need to put in transitions.
"I would also say regarding voice and style, I want the writing, especially in this chapter, to move. This is my moment to wrap the reader into the story and convince them to stick around…. While I'm trying to make the writing vivid, I'm allergic to anything that verges on purple. Less is more."