My Approach to Developmental Editing

By now, you’ve learned a lot about what developmental editing is, how to prepare for it, and how to choose an editor. You may be curious about working with me, but you’re not sure whether my feedback style and approach will be the right fit.

What is it actually like to work with me? What have past clients have said about the experience? Will my editing philosophy and bookside manner be a good match for you?

I’m glad you’re asking these questions. I want you to find an editor who is a great fit for your manuscript. If that ends up being me—awesome! I can’t wait to work with you.

But if, as you read, you notice that I’m not quite right, no worries. Use that information to continue your search. I want you to feel happy, empowered, and excited to edit your draft—moving forward with clarity after your developmental edit. The last thing I want is for you to feel unsupported, confused, discouraged, or like I didn’t “get” what you were trying to do.

So, let me tell you more about my approach and the kinds of writers I tend to be a good fit for.

Table of Contents

How I Work

Yvonne McArthur, writer and editor, smiles at the camera with a stack of writing craft books in her arms.

One of the biggest things that has informed my approach to developmental editing is that I became an editor because critique and developmental edits made a huge difference in my work. I know exactly what kinds of suggestions I’ve found most helpful as a writer, the bookside manner and tone I’ve been most receptive to, and where I have wished for something different.

As a result, I offer suggestions that:

Are thorough and detailed
Are explained using concrete examples
Consider both the macro and micro level problems that affect the reading experience
Call out what writers do well as well as what they can improve

Every project I’m brought into is a singular honor: an opportunity to encourage and help shape a writer’s manuscript.

This is a responsibility I don’t take lightly. Every time a writer hires me, they are inviting me into the work of months or years, into a project that is close to their hearts. Usually, the subject matter or the story are deeply meaningful and deeply personal.

Because of this deep regard I have for both the writer and their work, I enter a developmental edit committed to being as honest, discerning, curious, and clear-sighted as I can.

We all have areas to grow and strengthen. There’s no shame in this process of refinement. In fact, I believe it’s where the magic happens.

I love providing that outside perspective that so many of us writers need to take our manuscripts to the next level.

What I Believe About Editing

A novel lies open next to a berry smoothie on an old wooden bench with natural wood showing through aging blue paint

We all know the difference between something dashed together and slapped on a plate and something made with love and attention–no matter how simple or complex. We can taste the difference.

Editing makes a difference readers can taste.

Sometimes, the problems in a manuscript are glaringly obvious but difficult to fix. Other times, they result in a subtle malaise that’s hard to pinpoint. As an editor, my work is to pinpoint those sources of malaise and offer fixes ranging from nitty-gritty details to sweeping structural issues. I believe that editing is essential to providing readers with a book they will love, remember, recommend, and repeat.

I aim to empower writers to refine the “taste” of their book. That care is what makes a gift good, and readers will notice the difference.

If you want to see an example of developmental edit and how I used it to improve my manuscript, head here.

How Feedback Feels

A sage green journal is arranged on a blue background between a chunk of quartz, a jade bead, and a metal circle engraved with a tree. A fern leaf lays atop the journal.

Let’s face it, it’s sometimes jarring to get feedback–even when we’ve asked for it. It can feel like the ice bucket challenge or a dagger to the heart. We don’t always want to hear it. Even though we need critique to write awesome books, it’s disappointing to discover we aren’t there yet.

But ultimately, feedback should feel true. It should help us see the manuscript with new eyes. It should help us say, “Aha! You’re right! This is a problem. I like your suggestions for how to fix that.” Or “Yes, that’s an issue, but I’ve come up with an even better fix.”

It’s true that sometimes there’s little I can do to soften my feedback or make it feel less like a punch to the gut. But I try to be as honest as I can and as kind as I can. (I talk about why asking for brutal honesty was a bad idea in this post.)

I care about excellence and I believe that you, fellow wordsmith, care about excellence. So, I will not do you or your work the disservice of a pat on the back or a free pass.

I want writers to come away feeling empowered, excited to dive into edits, mind alight with new ideas and possibilities. I want them to feel encouraged, hold on to what they’re doing well, and stride into edits with clarity and confidence.

A tracked-changes document showing a comment from editor Yvonne McArthur on character motivations. — One of my comments on a client’s space opera. Shared with permission.

This editing style is what I call my bookside manner. If you missed it, I talk more about this and why it’s important in my post on how to find the right editor.

Writers I’ve worked with have said that:

“She is very thorough, precise, thought-provoking, blunt, honest, funny, and besides all that, she is a really good editor! I enjoy her professionalism and the way she explains why something works and why it doesn’t.”
~ Dana F., developmental editing client (middle-grade fiction & short story)

“As a first-time author, she was incredibly helpful, patient, understanding and so much more! I got amazing feedback from her, and her advice was nothing less than eye-opening.”
~ Elah M., developmental editing client (young adult fiction)

“From the very first exchange, I felt supported, understood, and in safe hands. She worked on my project as if it were her own, with a level of dedication and care that is rare to find.”
~ Fanny G., line editing/rewriting client (transformational non-fiction)

Who I’m Especially Good For

The camera shows a top view of a woman working at a computer with an empty bowl with chopsticks and an empty mug beside her.

I’ve worked with writers from many different walks of life, age ranges, demographics, and cultural backgrounds. While I’m not the best fit for every genre or every project, I tend to work best with certain kinds of writers.

I’m especially well-suited for newer writers, anyone who feels stuck or unsure how to move forward, and people who may be nervous about critique but are genuinely open to growth. I work best with writers who want honest, thoughtful feedback—not vague encouragement—so they can strengthen their work and their craft.

I’m very much about a growth mindset. If you missed it, you can read my post on crucial mindset tips to prep for a developmental edit.

Your Next Step

If my approach resonates with you and feels like a good fit, you can learn more about my developmental editing services — what’s included, pricing, and next steps — on my services page.

At the end of that page, you’ll find a quick and easy way to reach out with questions, request a sample edit, or book a discovery call. Let’s explore the possibility of working together.