How I Line Edit for Lyrical Language

Jun 9

I compare line editing to tuning your musical instrument before a public performance. A line edit checks that each sentence is in the chosen key, and each word is hitting the correct note. When I line edit, I’m listening for the sound and rhythm in every line and paragraph, to ensure your words are memorable and their music will have the effect it’s meant to.

When I’m line editing, I read aloud. I’m listening to the sound of each sentence and for the way the words and sentences connect to one another. I can better sense the tone and mood when reading aloud, and it’s easier to hear what’s off in a written piece when it’s spoken. My first concern is catching any confusing or convoluted sentences, and rearranging them for a clear and orderly presentation of ideas.

I pay attention to sentence variety—the length and type of sentences, the placement of phrases and clauses, and especially to sentence openings and closings. Sentences should not all follow the same patterns, so I’ll improve variation by adjusting subordinating clauses and sentence fragments, and I’ll check for parallelism in sentence structures. I adapt to the author’s natural style—some prefer long, winding ideas and flowing sentences, and some are more concise and direct, but every style benefits from careful tightening.

Then I evaluate the choice of words, ensuring not only the correct denotation, but also considering the connotation of a word. I’ll suggest words that may better evoke the desired emotions. I reduce excess adjectives and adverbs, while inserting more specific concrete nouns and active verbs.

While line editing in this way, I’m checking for cliches to replace with fresher phrasing, mixed metaphors to sort out, and paying attention to any unnecessary repetition of words and phrases. I’ll also consider where intentional repetition of a refrain, or of an extended metaphor, might be effective. When appropriate, I’ll insert rhetorical figures—those Aristotelian figures of speech that lend metered rhythm and profundity to sentences.

As I’m reading aloud, I listen to the sound of each word. I’ll check for any accidental rhyming words. I also notice more subtle sounds and make nuanced adjustments to words and sentences using poetic techniques, such as consonance, assonance, and alliteration, that introduce musicality and cadence to each line.

Throughout a line edit, I’ll listen for natural-sounding dialog with distinct character voices, and adjust if needed. And lastly, I’ll consider the paragraphing and its effect on the clarity and rhythm of ideas.

The result of skilled line editing is writing that reads as naturally and beautifully as music, because it was artfully composed.

My line editing

I provide line editing only for authors who first had my developmental edit and have completed their revisions. My line editing is a secondary service for two reasons:

One, because a developmental edit for coherent structure is essential prior to line editing. The developmental edit is like determining which piece you’re playing, in which venue, with what instruments. All necessary information before tuning.

Two, because I need to internalize an author’s voice, style, and intention before line editing, so that I’m preserving and enhancing the desired effect, not altering it. Doing your developmental edit ensures that I’m already familiar with your voice when I begin line editing.

Should you get a line edit?

There are four industry-standard levels of book editing: developmental edit, line edit, copyedit, and proofread. If you’ve determined you can’t do all four, then line editing is the only one you might consider cutting.

But, every book will benefit from a line edit, especially books by less-experienced writers. A line edit will elevate your prose so it has greater resonance with your readers and is as memorable as music.