How to Line Edit a Manuscript: A Step-by-Step Guide for Fiction Writers

Table of Contents

1. Choosing your line editing workflow

2. Step 1: Fix POV issues

3. Step 2: Cut exposition dumps & flat description

4. Step 3: Trim filler words & redundant phrases

5. Step 4: Watch for echoes & repetition

6. Step 5: Eliminate filter words

7. Step 6: Strengthen weak verbs

8. Step 7: Refine emotion in the scene

9. Step 8: Tackle dialogue & tags

10. Step 9: Shape pacing with sentence variety & punctuation

11. Step 10: Read aloud

12. Self-editing your prose: do's and don'ts

13. Line edit like a pro, even with a tight budget

If you’ve ever cringed at your own clunky sentences, struggled to cut info-dumps, or wondered why your dialogue falls flat, you’re not alone.

Every author hits this stage: line editing. And once you learn how to line edit a manuscript, your prose transforms from draft-level writing to professional-level storytelling.

This stage can feel overwhelming, but it doesn’t have to be.

As an editor who’s worked with dozens of indie fiction authors over the past 5 years, I like to use a practical process. I’ve seen the effect when an author not just hires a line editor but also learns and improves their own writing through learning the techniques.

For instance, one author I’ve worked with cut down on using filter words, improving the narrative distance in her drafts while keeping the correct distance for her POV choice and genre.

And I want you to learn this too.

In this guide, I’ll walk you through my step-by-step workflow for line editing your fiction manuscript. You’ll see examples of common problems, side-by-side edits, and recommended resources to keep improving.

It breaks things down into bite-sized passes so you fix one issue at a time. No more revision hell—you may even start to see the fun of this stage!

The more experienced you get, the more you’ll change this workflow to fit your style and needs. But before you get there, I find that the below workflow is an excellent starting point for beginner to intermediate authors.

Note that this is a self-editing workflow, meaning the revisions shown here are more liberal than a line editor would make.

Quick tip you can use right now: read one page aloud and mark any sentence you stumble over. Those are your first targets for line editing.

By the end, you’ll have a clear editing guide to refine your prose, highlight your voice, and make your story more engaging—without losing yourself in the process.

Choosing Your Line Editing Workflow

Before you dive into editing line by line, it helps to pick a workflow that suits your style.

Not sure what that is yet? That’s okay; try one approach for a scene, then experiment with another. Over time, you’ll find what clicks.

Here are three workflows you can test:

• By function: divide your scene into exposition, description, dialogue, and action. Edit each “chunk” with its purpose in mind.

• From broad to specific: start with big-picture style issues (POV consistency, show vs. tell, dialogue flow), then zoom in on smaller fixes (filter words, echoes, micro-edits).

• By technique: focus each pass on one technique, such as trimming redundant phrasing, cutting info-dumps, or refining verbs.

Personally, I like blending the “broad to specific” flow with the technique-focused method—it keeps me from getting lost in the weeds too soon. Not coincidentally, that’s the workflow I’m outlining below!

Not sure whether you’re ready yet to start line editing? I created this guide to help you decide!

Step 1: Fix POV Issues

One of the biggest hurdles in line editing is keeping point of view consistent. Even if your developmental edits nailed the POV choice, the line level often reveals sneaky head-hopping or shaky narrative distance.

I often add interpretations of character actions in my first drafts, even when my POV character couldn’t possibly know these. While it tells me what those characters might think or feel or do (guiding the subtext to add), it’s important I remove them so I don’t confuse the reader about the perspective we’re in.

Things to check:

• Is the sensory flow natural and continuous?

• Do transitions between close and distant perspectives feel intentional?

• Are you slipping into another character’s thoughts unintentionally?

Example

Original

Kaelen crept through the fog-drenched forest, the scent of wet pine filling his nose before the sharp crack of a twig made him flinch—Alyn’s mistake, though she didn’t realize it yet, her thoughts still focused on the map she’d memorized earlier [head-hopping to Alyn and an illogical sensory flow]. Somewhere behind him, Vael tightened his grip on his sword, anger flaring in his chest at the delay, already planning how he’d chastise them once they regrouped [head-hopping to Vael]. The mist thickened, muffling the cries of distant birds, and Kaelen’s pulse quickened as he sensed the enemy drawing closer, unaware that one of them had already spotted his silhouette through the trees and was raising a crossbow to fire [shaky transition from close zoomed in on Kaelen to zoomed out to a narrator’s perspective].

Edited (using omniscient third)

Kaelen crept through the fog-drenched forest, the scent of wet pine filling his nose. The sharp crack of a twig made him flinch and pause. He glanced over his shoulder in time to see Alyn’s foot lift from the snapped twig. She didn’t seem to notice it. Behind her, Vael tightened the grip on his sword and scowled. The mist thickened, muffling the cries of distant birds. Kaelen’s pulse quickened, his skin prickling with the sense of being watched. The three of them stood there, silent and waiting, all unaware that indeed their enemy had already spotted Kaelen’s silhouette through the trees and was raising a crossbow to fire.

Recommended resources

• Editing Fiction at the Sentence Level by Louise Harnby

• This article about head-hopping in fiction from Darling Axe

• Jane Friedman’s article about deep third POV

• Narrative/psychic distance explained here by Emma Darwin

• Narrative distance course by Louise Harnby

Step 2: Cut Exposition Dumps & Flat Description

Info-dumps are tempting—after all, you know so much about your world and characters! But too much backstory or lecture-style narration can pull readers out.

An author I worked with had several paragraphs of description in a row. While intriguing, it became too much in a row. Combining them with character movement and internalizations gave the descriptions depth and helped the reader immerse into the world.

Ask yourself:

• Does this passage serve the scene’s momentum?

• Could you spread the info across multiple chapters?

• Can you show it through character action or interiority instead?

Want to learn more? Read my guide on fixing exposition dumps.

Example

Original

Detective Marla Graves stepped into the old conservatory, her boots clicking against the cracked marble floor. This was the estate of Gregory Halberd, heir to the Halberd fortune and the last surviving member of a family known for their shipping empire in the 1800s, which collapsed after a scandal involving stolen artifacts from colonial expeditions [exposition, backstory]. The conservatory, once famous for its imported orchids and rare Amazonian butterflies, had been abandoned since the suspicious fire of ’89—rumored to be set by Gregory’s estranged cousin, though no charges were ever filed [exposition, backstory]. Marla had studied the Halberd family history during her academy years, fascinated by the mysterious disappearance of Gregory’s twin sister in 1973, a case that was never solved and remained part of local folklore [exposition, backstory]. Now, standing beneath the rusted iron arch and shattered glass dome [description], she knew the answer had to be buried somewhere in this place.

Edited

Detective Marla Graves stepped into the old conservatory, her boots clicking against the cracked marble floor. Butterflies wanted to burst out of her stomach. Ever since she’d studied the Halberd family history during her academy years, she’d promised herself she would come here one day. She stopped beneath the rusted iron arch and shattered glass dome, traces of the suspicious fire of ’89 still evident from the scorch marks along the wooden beams. The building was completely abandoned. A good thing, as it meant no one would disturb her. Marla grinned, a strange contrast against her desolate surroundings. She would find out what happened to Gregory Halberd’s twin sister in 1973, cold case or not. The answer had to be buried somewhere in this place.

Recommended resources

• Editing Fiction at the Sentence Level by Louise Harnby

• My article on fixing exposition dumps

• Understanding Show, Don’t Tell by Janice Hardy

• A Writer’s Guide to Active Setting by Marie Buckham

Step 3: Trim Filler Word & Redundant Phrases

Self-editing means catching the “fluff” you didn’t notice on draft one. Words like “just,” “really,” “suddenly,” and “kind of” often weigh sentences down without adding meaning.

My own crutch words are “just” and “only.” Simply removing most of those instances (where it didn’t add anything) made my writing a lot leaner!

This can be a little trickier, especially for the redundant phrases. We don’t always see that our lines aren’t needed.

Most redundant phrases will be likely removed when you tackled POV issues (like stage direction) and exposition.

Other redundant phrases can include:

• meaningless dialogue tags

• overexplaining an issue

• saying the same things twice in a slightly different way.

Example

Original

Riley was just [filler] about to step out of the apartment when she suddenly [filler] heard a strange and unfamiliar [redundant] noise coming from somewhere outside in the street. She paused for a brief moment, her body frozen still [redundant], and then she slowly and cautiously [redundant] made her way over toward the front window so that she could try to see what was going on [redundant]. It was kind of [filler] hard to tell, but she thought she could maybe make out a shadowy shape that looked sort of [filler] like a man—or maybe something else—lurking behind the parked car that [filler] was sitting across the street. Her heart began to beat faster in her chest [redundant] as she continued to stare intently outside [redundant].

Edited

Riley was about to step out of the apartment when she heard a strangled noise coming from somewhere outside. She froze for a second. Then she tiptoed her way toward the front window. She squinted and thought she could make out a shadowy shape of a man—or maybe something else—lurking behind the parked car across the street. Her heart beat faster.

Recommended resources

• Editing Fiction at the Sentence Level by Louise Harnby

• The Chicago Guide to Copyediting Fiction by Amy J. Schneider

• This article listing several filler words by Lindsey Danis

Step 4: Watch for Echoes & Repetition

Sometimes we lean on the same word without noticing, especially in emotional scenes. Readers will notice.

While both can be used for effect, you need to be deliberate with repetition.

One author I worked with loved to use echoes for this reason (think “I came; I saw; I conquered” but about every other paragraph). However, overusing this technique dilutes the impact. We cut back and only kept the repetition in the places where the emphasis added meaning.

Tip: Read aloud or use tools like ProWritingAid to spot echoes.

Example

Original

Cassie crept into the quiet library, where everything was quiet [echo] and still. The quiet [echo] made her nervous, especially since she’d never liked libraries [echo] much to begin with. She glanced around the room, taking in the rows and rows of dusty old books stacked on shelves that were stacked [repetition] nearly to the ceiling. Somewhere in this room, hidden among the stacks [echo], she knew the missing file was hidden. If she could just find the file [echo]—the missing file [repetition]—before anyone else found the file [echo], she’d finally have the proof she needed to prove [echo] to the police that Jonah was lying. She walked slowly down the aisle, walking carefully [repetition] so as not to make a sound [repetition].

Edited

Cassie crept into the library where everything was silent. The quiet made her nervous, especially since she’d never liked these places much to begin with. She glanced around the room, taking in the rows and rows of dusty old books stacked on shelves nearly to the ceiling. Somewhere here, the missing file was hidden. If she could just find it before anyone else, she could finally prove to the police that Jonah was lying. She tiptoed down the aisle, careful not to make a sound.

Recommended resources

• Editing Fiction at the Sentence Level by Louise Harnby

• Spellbinding Sentences by Barbara Baig

• Article on echo words on Writers in the Storm blog

Step 5: Eliminate Filter Words

You’re getting closer to the nitty-gritty details now! Tackling filter words is a great way to elevate your prose. And the best thing is that these words are searchable.

Look for words such as “saw,” “felt,” “heard,” “knew,” “wondered,” “tasted,” and so on. It can help to note which ones you use most often—these are likely your go-to words and phrases that’ll make the most impact during revisions.

Learning this technique made all the difference when revising my first published duology. It’s an issue that often comes up in first person stories.

For the exact steps, check my article on revising filter words here.

Example

Original

I could feel [filter] the cold wind whipping through the balcony as I looked [filter] out over the moonlit city. I saw [filter] the silver spires gleaming in the distance, and I noticed [filter] how the lantern light shimmered on the cobblestones far below. I heard [filter] footsteps behind me and realized [filter] they were his even before I turned. I felt [filter] my heart race as I thought [filter] about the way his hand had lingered on mine earlier that evening. I watched [filter] him step into the moonlight, and I knew [filter] in that moment that I was falling for him.

Edited

The cold wind whipped through the balcony as I gazed out over the moonlit city. The silver spires gleamed in the distance, and the lantern light shimmered on the cobblestones far below as if everything was coated with a sheen of magic. Footsteps echoed behind me, coming closer, and I realized they were his even before I turned. My heart raced as I recalled the way his hand had lingered on mine earlier that evening. He stepped into the moonlight like an incarnation of the gods, and I knew in that moment that I was falling for him.

Recommended resources

• My article on filter words

• My YouTube video on filter words

• Editing Fiction at the Sentence Level by Louise Harnby

• Spellbinding Sentences by Barbara Baig

Step 6: Strengthen Weak Verbs

Now it’s time to add even more specificity and emotion to your scenes by improving your verbs. Stronger verbs = more energy and clarity.

It always amazes me how different a scene feels when the verbs are specific and chosen to fit the mood or character. This little tweak is always one of my favorites when working on a manuscript.

Example

Original

I moved slowly [weak verb] down the hallway, which was really dark and oddly cold. There were faint noises coming [weak verb] from somewhere behind the walls, and I made sure to carefully put [weak verb] my hand along the side so I wouldn’t bump into anything. My flashlight was shining unsteadily [weak verb] as I walked [weak verb], and I occasionally did a quick glance [weak verb] over my shoulder just to be safe. The door at the end was half open, and a pale light was quietly coming [weak verb] from inside. My heart was beating quickly [weak verb], and I nervously reached out [weak verb] and put [weak verb] my hand on the handle, which was cold to the touch.

Edited

I crept down the dark and cold hallway. Faint noises whispered from somewhere behind the walls. I slid my hand along the side, feeling my way forward. The beam of my flashlight shook, and I occasionally glanced back—just to be safe. The door at the end was half open, the pale light from inside beckoning me. My heart pounded. My hand hovered over the handle for a second, then I gripped it tight, the cold metal causing goosebumps to crawl up my arms.

Recommended resources

• My YouTube video on strong verbs

• Spellbinding Sentences by Barbara Baig

Step 7: Refine Emotion in the Scene

Line editing isn’t just about mechanics; it’s also where you infuse atmosphere and emotional resonance. Adjust word choice, pacing, and interiority to match the mood you want readers to feel.

This is important because story = emotion.

The most memorable books are the ones that make us feel something, whether it’s swoon-worthy romance or edge-of-the-seat action.

If your scene doesn’t convey the emotion you want it to, consider what you could add, change, or take away.

For your characters, consider how they’re feeling at that moment. Revise their actions to show their emotional state. For your POV character, you can also add their interiority and any physical descriptions.

When working on a manuscript, I find this is always one of the hardest things to work on with an author, but also the most rewarding. I love how the tone shifts and the scene and characters come alive after the author applied the necessary changes.

Example

Original

The army was already gathering in the valley when we arrived. Banners hung from long spears, shifting a little in the wind [no clear atmosphere]. Our horses slowed as we approached the ridge. I looked at my friends. [lacking emotion] No one said anything for a while. [lacking emotion] Then Dain told us we should probably head down there. [lacking emotion] I nodded, and we started forward. [lacking emotion]

Edited

The army was already gathering in the valley when we arrived, a mixture of shouts, marching hoofbeats, and the metallic grind of their armor. Banners hung from long spears, shifting a little in the wind, showing the brown stag on a field of yellow—the army we meant to stop.

Our horses slowed as we approached the ridge. I glanced at my friends, their mouths twitching, hands shaking. It seemed insects crawled within my stomach. We’re too late. 

No one said anything for a while.

“We should probably head down there,” Dain whispered. His head hung. I’d never seen him so defeated.

I straightened in the saddle, my muscles tense. I nodded once. As one, we marched forward.

Recommended resources

• The Fire in Fiction by Donald Maas

• The Emotion Thesaurus by Angela Ackerman and Becca Puglisi

Step 8: Tackle Dialogue & Tags

Now that your emotions are clarified, we need to check whether the dialogue:

• reflects that emotion

• fits with that character in that specific situations.

You don’t need to give each character different dialects for uniqueness (in fact, please don’t).

How we speak tends to change based on our emotions. When in anger, we can shout, and our sentences are often shorter. When we’re sad, we often don’t say much at all.

It also depends on who we’re talking to. We often don’t talk the same way to our parents as we do to our friends, for instance.

Consider these nuances for the characters in your scene and adjust their speech accordingly.

Also cut redundant tags and use action beats intentionally.

When in doubt “said” is usually a good choice, as it’s near invisible. But if you want to get creative, I’m not stopping you.

My first drafts are always riddled with redundant tags like “he nodded” and “she shrugged.” Knowing your own go-to crutches will help you spot them and revise them into something more meaningful.

Example

“I guess we should go see what’s going on at the bakery,” Alice said.

“Yes, we probably should go see what’s going on there.” Mia nodded.

“I wonder if the thing that’s going on there is related to the thing that happened at the library,” Ben said, frowning.

“It could be. We should probably go ask some questions when we get there.” Alice shrugged.

“Yes, we should ask questions. Maybe someone will tell us something.” Mia nodded again.

“That would be good. We might be able to figure out what happened,” Ben said. He smiled.

Edited

“We should go see what’s going on at the bakery,” Alice said.

“Yes, great idea!” Mia clasped her hands together, already one foot out the door.

“You think what happened is related to the library incident?” Ben asked, furrowing his brows.

Mia stopped in her tracks.

Alice shrugged, stopping herself from rolling her eyes at him. They all had the same info, didn’t they? “It could be. Only one way to find out.”

“Yes, surely someone will tell us something,” Mia said, her smile widening.

“I suppose. Maybe we’ll figure it out,” Ben said, although he didn’t seem convinced.

Recommended resources

• How to Write Dazzling Dialogue by James Scott Bell

Step 9: Shape Pacing with Sentence Variety & Punctuation

For our final editing pass, we’ll tie up pacing and consider punctuation, sentence length, and syntax. These are all tools we can use to make the passage seem faster or shorter.

For instance, if we have many verbs in quick succession, the pace increases. If instead we have a beat of interiority, fewer verbs, and less action happening, the pace slows.

Punctuation determines the pauses we take and how long those pauses are. By playing with syntax, you can improve the flow by varying sentence structures and determining where you place your focus.

This stage is one of my favorites. It’s subtle, but the difference is instantaneous.

Example

Original

Elias set the tray down on the table, the porcelain cups rattling a little as the steam curled toward the rafters, and he glanced at the small, green creature curled up by the hearth, which blinked once before lowering its head again. [long sentence] He wondered if it had slept there all night, or if it had come in only recently, and either way, he decided not to disturb it just yet because it looked so peaceful. [long sentence, rambling] The rain outside was still coming down hard. [akward transition] The room smelled faintly of cinnamon and damp wool, which was comforting in a way, though it also made him think of autumn mornings long ago and how quiet they had been, and how quiet this one was, too [long sentence, punctuation seems off]. He sipped his tea. [overall good, slower pace, but has punctuation issues and run-on sentences]

Edited

Elias set the tray down on the table, the porcelain cups rattling a little as the steam curled toward the rafters. He glanced at the small, green creature curled up by the hearth. It blinked once before lowering its head again. He wondered if it had slept there all night, or if it had come in only recently—either way, best not to disturb it yet. It looked so peaceful. The room smelled faintly of cinnamon and damp wool; the rain outside was still coming down hard. It was comforting in a way, though it reminded him of autumn mornings long ago, how quiet they had been, how quiet this one was, too. He sipped his tea.

Recommended resources

• Spellbinding Sentences by Barbara Baig

• Line editing for suspense course by Louise Harnby

Step 10: Read Aloud

Finally, read your scene aloud (or use text-to-speech). Hearing your words makes clunky rhythm and awkward phrasing stand out immediately.

At this point, you probably don’t want to read those same sentences again. But listening makes all the difference. I often find awkward phrases and clunky section I missed the first time around this way.

Self-Editing Your Prose: Do’s and Don’ts

Do:

• read in a different medium (like print, e-reader), use another font, or start reading at the end

• take a break before starting edits

• track your personal crutch words and phrases.

Don’t:

• skip steps because you “think you get it”

• replace words with fancy thesaurus synonyms

• avoid asking for feedback when you need it.

Line Edit Like a Pro, Even with a Tight Budget

Learning how to line edit a manuscript takes time, but every pass you make brings your prose closer to its full potential. Whether you stop here or hire a professional line editor later, you’ll already have done much of the heavy lifting. (And read more here about how to find a good editor.)

And remember: line-by-line editing is not about stripping your voice; it’s about helping it come through more clearly.

Whatever you do, investing the time to learn the techniques in this article is crucial for creating a story people will love.

So read the articles, watch the videos, read the books, and practice, practice, practice.

If you want, you can even ask ChatGPT or another AI to write sample paragraphs and scenes for you with specific issues in them to help you practice revision. (Or create a custom line editing GPT and ask it for feedback!)

If you’d like a second pair of eyes to spot what you might miss, my line writing assessment gives you a detailed roadmap for your manuscript.

You’ve got this. And your story deserves the care you’re giving it.

Related Posts

• What Is Line Editing? A Guide for Indie Authors

• Line Editing vs. Copyediting: Their Differences and Similarities

• Can ChatGPT Do Line Editing? I Put It to the Test

• When Is Your Manuscript Ready for Line Editing?

• How to Get Rid of Filter Words in Your Writing (and When to Leave Them Alone)

• How to Fix the Exposition Dump in Your Story

• What Is Psychic Distance? Hidden Key to Stronger Storytelling

• What Does a Line Editor Do? (With Real Examples)

• How to Find a Good Line Editor (Without Losing Your Mind)

• How Much Does Line Editing Cost for Books?