Description
Our courses are asynchronous, meaning you never need to be at your computer at any specific hour. More information about how these classes are conducted is available here.
After placing your order, your course will be added to your personal course library on our education site. That site has different login information from the main EFA site. Please check your email for information on how to access the course.
If this session is full or the dates don’t work for you, join the waitlist to be informed of last-minute openings and future sessions.
Line editing is one of the most important editorial passes a fiction manuscript undergoes before publishing. Developmental editing and copyediting perch at opposite peaks of the editorial process, handling story structure and grammar usage respectively, while line editing navigates the valley between them to refine both narrative flow and syntactical styling. It’s the bridge that connects the grand architecture of storytelling with the intricate details of language mechanics, offering writers a holistic approach to enhancing their most important feature: their voice.
In this four-week introduction to line editing, we’ll cover everything you’ll need to start working professionally with market-bound authors.
- Week One: In the first week, we’ll discuss the principles of authorial voice and how we can elevate our authors’ voices with “universal voice strengtheners” without changing or erasing their unique style. Then we’ll go deeper into what makes a good line editor and how you can prep yourself for new projects.
- Week Two: We then dive into an author’s use of narrative lens and how the psychic distance between the reader and the characters’ minds affects the prose on the page. After that, we cover querying etiquette and communication between the editor and the author.
- Week Three: Next we’ll discuss the role of grammar in line editing and how to set boundaries between line edits and copy edits before diving into how we can manipulate sentence structure and punctuation to affect flow, focus, rhythm, emphasis, and intent. Then, we set our own editing scope boundaries with a discussion on when to make in-line changes ourselves versus query the author for rewrites.
- Week Four: Our final week of the course will show you how to send your finished line edit to clients. We’ll discuss tips and tricks for packaging your edited manuscript file, editorial letter, and delivery email. You’ll walk away with confidence that your deliverables are clear, actionable, and instrumental for your author’s publishing journey.
You will receive one-on-one feedback from the instructor on three editing assignments while discussing the coursework and broader editorial implications with your fellow students in the class forum.
This approach to line editing will most benefit editors of commercial (or genre) fiction, though the writing principles may apply to other styles of narrative as well. This course is perfect for both brand-new editors looking to launch their freelancing careers and experienced editors looking to strengthen the foundation of their editing craft.
This course is open to students at all levels.
Amber Helt (she/her) is a professional editor, writing instructor, and editor coach with over 10 years of experience working with traditional publishers and independent authors. She is the owner and managing editor of Rooted in Writing, an editorial agency that works with speculative fiction authors of all publishing paths to help their novels flourish in their competitive markets. Her editorial agency prides itself on strong client relationships and gardener-minded editing, where writers leave with not just a pruned manuscript but seeds to grow as authors in their next project. Amber was the chapter coordinator for the EFA’s North Texas chapter for five years and loves sharing her knowledge with fellow editors. Amber has a BA in English creative writing with a certificate in historical linguistics.
