When I was a creative writing major, the bulk of my classes were writing workshops. In that environment, I heard about line editing (LE) far more often than developmental editing (DE) or even copyediting (CE). People in the program spoke about line editing as a process that came with its own unique role in publishing, so I assumed every publishing house would be equipped with its own in-house line editors. I’ve since found that parts of line editing may be absorbed into copyediting, but other parts may not. As editor Sandra Wendel points out on Jane Friedman’s blog, people conflate LE and CE because they don’t understand that they’re separate processes; they might not even know LE exists. DE and CE are editorial giants, and in their long shadows, LE can be hard to recognize. So, what is it?

Simply put, LE is the process of examining every line of a manuscript (MS), noting what is and isn’t working, and suggesting improvements. If DE is the big picture and CE is the details, then LE is the murky middle ground that bridges the gap. Like DE, LE is a subjective endeavor. However, while DE focuses on the structural elements of story, line editing focuses on the structure of the writing itself. And unlike CE, it isn’t so concerned with strictly adhering to rules or style guides, it’s about clarity and technique. Line editors scrutinize everything, asking questions as they comb through a body of text. Is the meaning clear? Do the sentences flow well? Would the paragraphs be more effective in a different order? Is the tone consistent? Could the language be updated to maximize its impact? Queries and suggestions for solutions are left in the margins, but the editor might directly modify the manuscript when (a) it’s a non-contestable fix or (b) when doing so offers greater clarity than a marginal comment would.

LE’s entrenchment in the text makes it both invaluable and hazardous. Writing is personal and should reflect its author. It’s the mission of all editors to see a work’s potential and guide the writer toward it, not to impose their preferences. Line editors must be especially mindful of their approach. Language dictates the voice of a piece, and when an editor is rewriting, it’s all too easy for them to replace the author’s voice with their own. It’s imperative that line editors pose alterations as suggestions and offer explanations. The editorial process should be a conversation where the author always feels comfortable enough to make a rebuttal, and that conversation should start before the editor changes anything.

Opinions on how the conversation should begin may vary, but I prefer to read the manuscript as a reader before approaching it as an editor; you can’t sculpt a story into its best self if you don’t know its original shape. I don’t want my first interpretation to be influenced by information that can’t be found on the page. When it’s time to speak to the author about the MS, I don’t assume anything. I ask big picture questions—about aspects like tone and dialogue styles—so I can understand the writer’s vision when I go to reread. Once working in the document, it’s the editor’s job to convince the author they understand the MS’s aims and can help achieve them. They should point out what is working well and be candid but considerate when addressing areas of concern. An editor and author are working towards the same goal, so they shouldn’t fight with each other. There are always multiple solutions, and it’s the line editor’s job to offer up a variety of options, then trust the author to choose—or find—the best one. 

Though line editing is a unique stage of the editing process in theory, in practice it isn’t cut and dry. When stylistic issues occur consistently, developmental editors may include these in their letter to the author. A line editor may correct typos and grammatical errors as they come across them. Likewise, in a heavy copyedit the editor will pose queries and point out infelicities. Not every publisher has enough time or money to have three separate editors work on a manuscript in three stages. If a company is looking to streamline its editorial phase, the most obvious candidate for dismissal is the one that overlaps with both its counterparts—line editing. But even when LE tasks are absorbed into the DE and CE, neither of these editors will spend as much time poring over every word as a line editor would.