Editing & Proofreading ·
Editorial letter to the author
The covering letter that goes with a marked manuscript: what was changed, what was only suggested, and why the number of marks is nothing to be alarmed by.
The covering letter sent with the marked wartime manuscript — the part of an edit the author reads first.
It sets out the rules the edit followed: sentence structure was changed only where it improved pace without altering the style; structural changes were suggested rather than made, because those need the author's hand; nothing was touched where the intention was unclear. The one substantial problem is raised directly — the dialogue between Owen and Janek is hard to follow — with a proposal to work on it together.
It closes the way an editorial letter should: an invitation to query anything unclear, and a plain statement of what already works — the writing is vivid and easy to read.
- Companion to the wartime fiction line edit
- Explain the marked manuscript: what was changed, what was only suggested, and why
- 351 words
Dear Author,
The manuscript is starting to come together – exciting! There are some notes that I have made for clarity and some minor vocabulary changes that can be addressed quickly. However, there are some elements that perhaps you’d like to discuss, so I think it would be a good idea if we could arrange a time to go over notes and questions/ideas you may have. Don’t be alarmed by the number of markings, most of it is just routine to help with consistency and flow (as well as making sure things are in line with the house-style). None of my changes, suggestions, or comments allude to anything about your writing style or plotline, they are just supposed to be helpful thoughts from a reader’s perspective and fresh pair of eyes.
So, with that said here is a brief explanation of a few of my comments:
I changed the structure of some of your sentences if I thought it would improve the pace/reading experience without altering the style of your writing.
I have suggested a change in structure (but not implemented one myself), where I felt that a collaborative effort would be best to preserve the emotion/integrity of the extract.
I have not altered parts where I am unsure of your intention.
I have suggested the additions of some further elaboration when it comes to scene changes or characters’ thoughts and emotions.
In the dialogue between Owen and Janek, I feel the conversation feels unnatural and the reader would not be able to follow what is being said/hinted at. Perhaps we could have a look together so we can make sure you give the reader exactly what you intended from that scene.
There are a few other bits and pieces but if anything is unclear please let me know, I would be happy to clarify. Overall, your writing is vivid and easy to read, the descriptions are beautifully written, and your use of metaphor tactful and not tiring. I hope you find this helpful and I am excited to continue to work with you and your art.
Best wishes,
Isabelle Oliveira
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