Odile Sullivan-Tarazi

Expository (informational) nonfiction

A developmental edit asks such questions as:

• Is the structure overall the best one for audience and context? For the material?

• Do the concepts flow clearly and logically? Is context clearly established and maintained?

• Is any critical information missing, misplaced, or hidden?

• Is any material either superfluous or redundant?

• Would restructuring or reenvisioning make the material easier to follow?

• Do writing style and tone place the author in the best light? Do they serve the material well? Speak to the audience successfully?

• Is the discussion smooth, the writing itself easy to read and absorb?

This is just the bare-bones start of the list, and a simplified one at that. There are so many ways that a piece (an essay or article) or longer work might go awry in terms of concept, structure, and execution.

Narrative nonfiction

A developmental edit asks such questions as:

• Is the theme clear? Do the significant points in the narrative all dovetail and support it?

• Is the storyline compelling? Have the right details been selected? Are they interwoven successfully?

• Are the details credible? Are we able as readers to glean the insights the author wants us to from these real-life events?

• Are narrative and exposition well balanced? Does that balance serve the author’s purpose? The needs of the material?

• Is the POV clear and consistent? Does it support the story well?

Again, this is just to suggest the manner of inquiry. This list represents just the start of it, simplified for ready illustration. In addition to all the general issues, stories about others (biographies, profiles, literary journalism) carry with them their own particular conventions and concerns, as do stories about ourselves (memoir).

fiction

A developmental edit asks such questions as:

• Are all the elements of fiction — character, plot, conflict, setting, and so on — in place?

• Are the core principles of story structure in place? Are the stakes high enough? Do they mount?

• Is the story arc clear? Is it successful? Are the character arcs clear, are they successful?

• Is the setting distinct and unique? Is it evoked and used well? Does it serve the story?

• Does the story situate us as readers in the experience?

• Is narrative summary used well? Or is anything buried that ought to be highlighted?

• Are scenes constructed well? Or is anything so highlighted that does not advance the story or tie in well with theme?

• Is the dialogue natural? Does it, at all points, either advance the plot or say something about character — or both?

• Is exposition handled well? Or is there info dumping or “As you know, Bob” conversations?

• If anything is handled unexpectedly, is it done so artistically, with an eye to flouting or overturning convention? Or is it handled unsuccessfully?

And so on. Elements of story concept and structure can become particularly complex. This is just the merest start of a list of avenues of investigation. In addition, specific genres carry with them their own conventions and concerns. And literary fiction, more so than anything else, might dictate its own rules.

What you get

• Your ms with extensive marginal notes and commentary

• A detailed editorial letter that addresses and discusses the major issues, drawing also examples from the ms

• A video conference to walk through the analysis and recommendations