Breaking into developmental fiction editing is exciting – it means helping authors shape their stories, improve their writing craft, and achieve their dreams. Lofty stuff!
But it can be really difficult get the depth, level and content of your feedback just right, so that authors can redraft with confidence and (relative) ease, without feeling deflated or overwhelmed.
I’ve been teaching developmental fiction editing for years, and I commend all my students for their dedication and efforts. Even so, these are the five most frequent mistakes I’ve seen new editors make – with guidance on what to do instead.
1. Over-editing
New editors often feel pressure to show their value by fixing every issue they spot. But a flood of small tweaks can quickly become overwhelming.
When every sentence has a suggestion, authors get fatigued with the amount of work before them – and the truly important developmental notes can get lost in the noise.
Too much micro-editing also takes the manuscript out of the author’s hands. Instead, ask yourself: With some thoughtful guidance and a brief example, could the author make these changes themselves? That’s the goal – empowering the writer, not rewriting the book.
Tip: Prioritise clarity and focus. Be selective with your on-page comments, and centre your feedback on what matters most at this stage: story, structure, character, plot, pacing, and so on.
2. Cutting too much
There’s a common misconception that editing = cutting.
New editors sometimes go too far, trimming sentence after sentence – sometimes scene after scene – until the writing starts to lose its rhythm, its flow, even its voice … and crucial story details! But the goal of editing isn’t to make the writing as tight as possible – many sentences and scenes carry nuance, subtext or emotional weight.
Rather than defaulting to the red pen, look for patterns. Is there a recurring issue in the writing that’s making it feel bloated? Does it point to a developmental problem – like pacing, point of view, or lack of clarity in character motivation? Name the issue. Demonstrate how to address it. Then step back and let the author decide how to redraft.
Tip: Editing isn’t about making the text shorter – it’s about making it stronger. Cutting should always serve the story.
3. Straying into line or copy-editing
Sentence-level edits have their place – but not during the developmental phase unless they link to a bigger issue. If you’re tweaking word choice or fixing commas, ask yourself: Is this really a developmental edit?
For example, if a sentence is confusing because the point of view is drifting, that’s worth flagging. But cleaning up a clunky phrase? That’s best left for later.
It can be really hard for new developmental editors to leave things like this alone, especially if they come from a background of line and copy-editing, but it is so important to train yourself to do this!
And remember: many of these polished sentences might not survive the next draft. If the author deletes or rewrites the scene entirely, your copy-edits go straight to the cutting room floor.
Tip: Only focus on sentence-level edits when they relate to a bigger developmental issue (while also being mindful not to over-edit). Otherwise, resist the urge.
4. Over-explaining small tweaks (and not zooming out enough)
Sometimes, newer editors write full paragraphs explaining a tiny change – but then only briefly touch on (or completely miss) big-picture problems like unsatisfying character arcs or a missing midpoint.
This misrepresents the hierarchy of issues: the big stuff should be the focus of your feedback.
Often, explanations for small tweaks are better suited to – brief! – page notes. Save the editorial report for the developmental concerns that impact the story or writing technique as a whole.
Tip: Use the editorial report to zoom out. That’s where you can offer vision, clarity and overall guidance – not granular justification for small changes.
5. Being too blunt in tone
Honesty matters, but tone matters just as much.
New editors sometimes come across as too sharp or too absolute, especially when trying to be efficient, direct or authoritative. Over time, this can create a ‘death by a thousand papercuts’ effect – every critique, no matter how minor, chips away at the author’s confidence.
It’s also important to remember that fiction is subjective. What works for one reader might not for another. Your suggestions are just that – suggestions. Never frame them as what an author must do, or imply that your opinion is the ‘right’ one. Instead, justify your suggestions with solid explanations, and the author will likely willingly come around to your way of thinking.
Tip: Lead with curiosity. Ask questions. Offer alternatives. Make space for the author to disagree – and for them to feel empowered by your feedback, not belittled.
Final thoughts
Being a great developmental fiction editor is about balance: honesty and tact, criticism and praise, details and the bigger picture.
Your job isn’t to fix the book – it’s to help the author understand how they can improve it, without overwhelming them with the task.
If you’re new to this, don’t worry – you’ll find your rhythm. The more you practise, the more you’ll get a feel for these things.
Interested in learning more? Take a look at my online developmental editing courses.
