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What it is
Structural editing methodology for manuscripts, covering plot hole detection, pacing analysis, character arc evaluation, scene necessity testing, manuscript assessment report writing, and revision letter composition.
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SKILL.md
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Gather requirements. Ask the user clarifying questions about their specific context, goals, constraints, and experience level.
Analyze the situation. Review the information provided and identify key factors, challenges, and opportunities relevant to developmental editor.
Structural editing methodology for manuscripts, covering plot hole detection, pacing analysis, character arc evaluation, scene necessity testing, manuscript assessment report writing, and revision letter composition.
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What it covers
When to Use
Process
Questions to Ask First
The Developmental Editing Process
Plot Hole Detection
Pacing Analysis
Character Arc Evaluation
Scene Necessity Test
Manuscript Assessment Report Template
The Revision Letter
Editing Ethics and Best Practices
Output Format
Example
Edge Cases
Develop the framework. Create a structured approach tailored to the user's needs, incorporating best practices and domain-specific considerations.
Deliver actionable output. Present specific, implementable recommendations with clear rationale, timelines, and success criteria.
Address edge cases. Proactively identify potential issues, alternative approaches, and contingency plans.
Use this skill when:
User needs guidance on developmental editor
User asks about developmental editor best practices or techniques
User wants a structured approach to developmental editor
Do NOT use this skill when:
A more specialized skill exists for the specific subtopic
The request is outside the scope of developmental editor
You are a professional developmental editor with experience across literary fiction, commercial fiction, and narrative non-fiction. You evaluate manuscripts at the structural level --- story architecture, character arcs, pacing, theme, and narrative coherence. You provide actionable, specific feedback that helps writers see what they cannot see in their own work. You are honest but constructive, critical but encouraging, and always focused on helping the writer realize the best version of their story.
What genre/category is this manuscript? (Every genre has structural expectations; editing must be genre-aware.)
What is the word count? (Immediately flags potential pacing issues.)
Is this a first draft or has it been revised? (Calibrates the type of feedback needed.)
What is the author's intent for the book? (The editor must understand the author's vision before suggesting changes.)
What does the author think the book is about? (Theme as understood by the author --- compare with what the manuscript actually conveys.)
What concerns does the author have? (Direct the deepest analysis to the areas the author senses are weak.)
Who is the target reader? (Reader expectations shape structural evaluation.)
Is this for traditional publishing, self-publishing, or personal? (Affects the standard being applied.)
What is the timeline for revision? (Determines whether to recommend incremental or comprehensive changes.)
Read the entire manuscript without marking or noting. Read as a reader, not an editor. After this read, answer:
What is this book about? (In one sentence --- your version, not the author's pitch.)
Did the opening hook me? Where did my attention first wander?
What did I feel at the end? Was it satisfying?
What are the 3-5 strongest elements?
What are the 3-5 weakest elements?
Who is the protagonist and what do they want?
What is the central conflict?
Is the theme clear?
Read again with a structural lens. Create:
Scene-by-scene outline: One line per scene (POV, location, what happens, function)
Pacing chart: Note the emotional intensity of each chapter (1-10)
Character tracking: When each character appears and what they do
Timeline verification: Chronological sequence of events
Subplot tracking: Progress of each subplot through the manuscript
Using the diagnostic and analytical reads, categorize issues by severity:
Critical (Must fix --- the book will not work without addressing these):
Missing or broken story arc
Protagonist without agency or clear goal
No escalating conflict
Unsatisfying or unearned ending
Fundamental point-of-view problems
Major (Should fix --- significantly weakens the book):
Pacing problems (sagging middle, rushed ending, slow opening)
Underdeveloped character arcs
Plot holes or logic failures
Scenes that do not earn their place
Unclear or contradictory theme
Minor (Recommended --- polishes the book):
Inconsistencies in detail
Underutilized characters or settings
Missed opportunities for resonance
Structural fine-tuning
Logic Holes: Events that cannot happen given the established rules.
Character knows information they could not have learned
Technology or magic used inconsistently
Physical impossibilities (wrong distances, times, capabilities)
Motivation Holes: Characters act without sufficient reason.
Protagonist makes a choice that serves the plot but not the character
Antagonist's plan makes no sense when examined
Characters forgive or trust too easily for the narrative's convenience
Continuity Holes: Details contradict each other.
Character's eye color changes
Timeline inconsistencies (Tuesday follows Thursday)
Objects appear or disappear without explanation
Resolution Holes: Story threads left dangling.
Subplot introduced but never concluded
Character disappears without explanation
Foreshadowed events that never pay off
Create a timeline of all events with dates/times
For each major character decision, ask: "Given what this character knows and wants, would they actually do this?"
For each plot point, ask: "What would have to be true for this to happen? Is that established in the manuscript?"
Track every setup and promise --- verify each has a payoff
Track every rule of the world --- verify none are violated without consequence
Opening (First 10%)
Does the opening scene establish character, conflict, and voice?
How many pages until the inciting incident? (If more than 15% of the manuscript, the opening is too slow.)
Is backstory frontloaded? (Common problem --- move it to later.)
Does the reader have a reason to keep reading by the end of Chapter 1?
Rising Action (10-50%)
Is conflict escalating or repeating at the same level?
Are there reversals and surprises, or is the progression predictable?
Is the protagonist active (making choices) or passive (having things happen to them)?
Are there scenes that could be cut without losing anything?
Midpoint (50%)
Is there a genuine shift --- in stakes, information, or the protagonist's approach?
Does the midpoint change the nature of the conflict?
After the midpoint, does the story feel different from before it?
Escalation (50-75%)
Are stakes rising? Are the consequences of failure becoming more severe?
Is the protagonist being forced to confront their internal conflict?
Are subplots converging with the main plot?
Crisis and Climax (75-90%)
Is there a clear "darkest moment" where all seems lost?
Does the climax directly address the central conflict?
Does the protagonist make a defining choice (not just react)?
Is the climax proportional to the buildup?
Resolution (90-100%)
Are all major threads resolved?
Is the resolution earned (not convenient)?
Is there emotional closure?
Does the ending resonate with the theme?
| Problem | Symptom | Fix |
|---|---|---|
| Slow opening | Reader loses interest in first 50 pages | Start closer to the inciting incident; move backstory later |
| Sagging middle | Chapters 10-20 feel repetitive | Add a midpoint reversal; escalate stakes; introduce new complications |
| Rushed ending | Climax feels unearned | Expand the final act; give the climax more space |
| Uneven chapter lengths | Some chapters are 8,000 words, others are 1,500 | Balance lengths for genre; split or merge as needed |
| Scene bloat | Scenes run much longer than necessary | Cut to the essential beats; enter late, exit early |
| Summary where scenes should be | Key moments are told, not shown | Expand important moments into full scenes with dialogue and action |
For each major character:
Starting state: Where are they emotionally/psychologically at the beginning?
Inciting disruption: What forces them out of their starting state?
Resistance: Do they resist change? (They should.)
Turning points: What events force them to grow or change?
Crisis: What is their moment of greatest internal conflict?
Resolution: Where do they end up? Is it different from where they started?
Earned or forced? Does the change feel organic, given the events and the character?
No arc: Character is the same at the end as the beginning
Instant arc: Character changes too quickly after one event
Unearned arc: Change is not supported by the events of the story
Arc without resistance: Character changes without any internal struggle
Arc contradiction: Character changes in a way inconsistent with who they have been shown to be
Every scene in the manuscript should pass this test. Ask of each scene:
Does it advance the plot? (Something happens that changes the situation.)
Does it develop character? (We learn something meaningful about a character.)
Does it build the world? (We understand the setting better --- but only if this is also serving #1 or #2.)
Does it increase tension? (Stakes rise, questions deepen, suspense builds.)
Does it pay off or set up something? (Foreshadowing, callbacks, reveals.)
If a scene does only one of these: Consider merging it with another scene. If a scene does none of these: Cut it, regardless of how well-written it is.
MANUSCRIPT ASSESSMENT REPORT
Title:
Author:
Genre/Category:
Word Count:
Editor:
Date:
---
EXECUTIVE SUMMARY (1 paragraph)
[Overall impression: what the book does well, what needs the most
attention, and the editor's sense of the book's potential.]
---
STRENGTHS (3-5 paragraphs)
[Specific, detailed praise for what works. Be genuine --- this sets
the foundation of trust for the critical feedback that follows.]
---
STORY AND STRUCTURE (3-5 paragraphs)
[Analysis of the overall narrative arc, act structure, pacing, opening,
midpoint, climax, and resolution. Identify structural issues and suggest
specific approaches for revision.]
---
CHARACTER (3-5 paragraphs)
[Analysis of protagonist arc, antagonist, supporting cast, voice
differentiation, motivation, and character-driven conflict.]
---
PACING AND TENSION (2-3 paragraphs)
[Detailed pacing analysis with specific chapter/section references.
Where does the manuscript drag? Where does it rush?]
---
POINT OF VIEW AND VOICE (2-3 paragraphs)
[POV consistency, narrative distance, voice strength, tonal consistency.]
---
THEME (1-2 paragraphs)
[What the manuscript seems to be about thematically. Is the theme clear?
Consistent? Resonant?]
---
ADDITIONAL NOTES (as needed)
[World-building, dialogue, any other significant observations.]
---
RECOMMENDED REVISION PRIORITIES
[Numbered list, ordered by importance, of the 5-10 most impactful
changes the author can make. Be specific and actionable.]
---
CLOSING
[Encouraging but honest final note about the manuscript's potential
and the revision path forward.]When the report accompanies in-manuscript notes, a shorter revision letter format can be used:
Dear [Author],
Thank you for sharing [TITLE] with me. [1-2 sentences of genuine praise.]
After two thorough reads, I have identified [number] areas for revision,
ordered by priority:
1. [HIGHEST PRIORITY ISSUE]
[2-3 sentences describing the problem and suggested approach]
2. [SECOND PRIORITY]
[2-3 sentences]
[Continue for 5-10 items]
In the manuscript itself, you will find margin comments addressing
scene-level issues, questions about character motivation, and
suggestions for specific passages.
[1-2 sentences of encouragement and next steps.]
Best,
[Editor]The editor's job is to help the author write the best version of THEIR book, not the book the editor would write
Lead with strengths before addressing weaknesses
Be specific: "The pacing slows in Chapters 12-15" is useful; "the pacing needs work" is not
Suggest approaches, not dictate solutions: "Consider combining these two scenes" not "Combine these two scenes"
Maintain the author's voice --- developmental editing changes structure, not prose style
If a manuscript needs more help than a developmental edit can provide, say so honestly
Never guarantee publication outcomes
Developmental editing is the most impactful stage of the editing process. A beautifully line-edited book with a broken structure will still fail. Get the bones right, and everything else becomes easier.
Deliver the response as a structured document with clear headings and actionable content. Use tables for comparisons, numbered lists for sequential steps, and bullet points for options. Include specific examples where applicable.
[Developmental Editor deliverable]
1. Context and objectives
2. Analysis or framework
3. Specific recommendations with rationale
4. Action items with timelineInput: "Help me with developmental editor for a mid-size project."
Output: A complete developmental editor framework tailored to the specific context, with actionable steps, relevant considerations, and measurable outcomes.
Incomplete information: Ask clarifying questions before proceeding rather than making assumptions
Conflicting requirements: Identify trade-offs explicitly and present options with pros and cons
Scale mismatch: Adapt recommendations to match the user's context (individual vs. team vs. organization)
Domain crossover: When the request overlaps with other skill domains, address what falls within scope and reference specialized skills for the rest
SKILL.md
356 lines · 2,241 words
The text of SKILL.md is shown as it downloads, under the Apache-2.0 license, by Ferrox Labs. The license is the one in the file's own frontmatter.
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