Editor Interview Series: Eva Kelly Hall of AtxEva Editing Services
The editor interview series provides insight into other editing stages I don't offer, such as line editing, copyediting, and proofreading.
In this first interview, Eva reveals what copyediting is and how you can save money when searching for a copyeditor.
Read on to learn what sparked Eva's decision to pursue professional editing and so much more!
Q: You get very passionate when you talk about copyediting! It’s always exciting to hear from an editor who is very passionate about their work, so why do you love copyediting? How did you get into copyediting?
I was reading by the time I was four, and I’ve been a grammar nerd since at least eighth grade when my English teacher, Miss Bader, taught sentence diagramming. I loved every second of it—and yes, I was that kid begging for more homework! I find comfort and joy in the logic and structure of grammar. But what makes it even more thrilling is seeing how the rules can be creatively bent or broken when the story demands it. My job is to know when those rules can be broken and how to do it in a way that elevates the writing. I’m obsessed with the beauty of a well-crafted sentence.
I’ve been homeschooling my daughter with a literature-based curriculum since preschool. She started high school recently, and I realized this part of my life will soon be over! So naturally, I started thinking about what I might like to do with my time once she graduates. I realized that what I’ve loved the most about our homeschooling has been all the wonderful books we’ve read together. I remembered my love of grammar and my on-again, off-again experiences over the years of editing and proofreading and English tutoring. When I put that all together, formal training to be a professional editor seemed like the perfect fit! I started with classes at Editorial Arts Academy, went on to pursue a copyediting certificate at Emerson College, and in between and since, I’ve had training from the Editorial Freelancers Association, ACES: The Society for Editing, the National Association of Independent Writers & Editors, Editors Tea Club, Jane Friedman, and more. I’m always attending classes and conferences and looking for every opportunity to keep my skills current and sharp.
“While developmental editing looks at the big picture—plot, pacing, character arcs, etc.—copyediting zooms in to the sentence and word level.”
Q: How does copyediting compare to other editing stages you’ve done?
Copyediting is the nitty-gritty stage. While developmental editing looks at the big picture—plot, pacing, character arcs, etc.—copyediting zooms in to the sentence and word level. It’s where I get to fine-tune grammar, punctuation, consistency, and clarity to make the writing shine. It’s detail-oriented yet creative, which is my happy place.
Q: What part of the editing process is your favorite?
Oh, definitely the part where a messy sentence turns into something magical. There’s nothing better than helping a writer’s ideas come across clearly and beautifully. Also, putting together a style sheet (yes, I find this fun, even though it’s time-consuming). And spotting where a hyphen should be an en dash makes my pedantic little heart skip a beat! It thrills every copyeditor I know.
Q: What is a style sheet, and why is it important for writers to have it after you’re done copyediting their manuscript?
A style sheet documents all the stylistic choices made during editing, from character names to hyphenation rules to preferred spelling variants. It ensures consistency throughout the book, and the proofreader uses it to check that the final text adheres to the established guidelines. It also acts as a handy guide for future edits or sequels (it can be used alongside or incorporated into the author’s series bible). It can save authors, editors, and proofreaders tons of time by answering those “wait, is it gray or grey?” questions. If you want to know more, I have a blog post about style sheets.
Q: Do you only edit books by Jewish authors?
Of course not! I edit manuscripts and other materials from a wide variety of writers. But I’m Jewish, and it’s been hard for my community to see the shocking marginalization of Jewish authors this past year. So I decided to focus my marketing efforts toward serving primarily Jewish authors and stories. But Jewish fiction has always been a specialty of mine. My not-so-tight four are contemporary romance, Jewish fiction and narrative nonfiction, gothic fiction, and middle grade. If you fit into any of those, feel free to contact me!
Q: If a writer on a budget only had enough money for the essential editing stages to publish their book, what would you recommend they invest in and why? I know copyediting is one of the most critical stages, but what other editing stages do you consider essential, especially for writers who aren’t comfortable using beta readers?
Yes, copyediting is certainly critical. This is where your prose gets polished and grammar, style, and clarity issues are addressed—all essential for a professional-looking book. Readers will lose confidence in the author if there are errors on the page. However, if beta readers aren’t an option, a manuscript critique or light developmental edit early on can help ensure your big-picture story elements are solid before copyediting begins. After all, a story that doesn’t go anywhere isn’t a joy to read, even if it is perfectly punctuated.
Q: You have a couple of packages: line editing with copyediting and layout with proofreading. Can you tell us more about that? Why should proofreading be done after the layout?
Line editing with copyediting is like the dynamic duo of editing. Line editing is editing at the language level. It focuses on style, flow, and voice while copyediting focuses on grammar, spelling, and punctuation (among other things like correctness and consistency). Line editing at the developmental stage doesn’t always make a lot of sense because whole scenes could be rewritten or deleted, so it’s too early to focus on getting every word exactly right and every sentence flowing seamlessly into the next. In a “heavy copyediting” package, I focus on both line editing and copyediting, typically in two rounds.
Layout with proofreading is the final polishing step. Some editors will offer a final edit in Microsoft Word and call that “proofreading.” I also do this at times, but it’s really a “light copyedit,” not a proofread. It can be a good alternative to full copyediting for writers on a budget. I also have a blog client who sometimes gets one last read-through after the post goes live. This works because with online content, corrections can happen on the fly. With a book manuscript, though, proofreading should always follow layout because that’s when you catch issues like weird line breaks, pagination issues, or other formatting hiccups that pop up during design. It’s got to come last.
I offer my layout + proofreading package when I haven’t also done the copyediting. I feel strongly that the copyeditor and the proofreader need to be different people. Just as it’s difficult for writers to catch their own errors, it’s difficult for copyeditors to catch their own mistakes during proofreading. They’ll undoubtedly catch some, but it’s really best to have a fresh set of eyes. Other than that, any of my services can be bundled for a discounted rate.
Q: What are some ways writers can save money when they’re looking for a copyeditor?
1. Prepare your manuscript as much as possible—self-edit and run a spelling and grammar check. Use Microsoft Word with 12-point Times New Roman font, black text, and double spacing. And please, only one space at the end of each sentence! Fancy formats or curly fonts aren’t needed at this stage; focus on creating a clean manuscript that’s easy to read and work with. Break your manuscript into chapters by inserting page breaks, not just hitting return a bunch of times. Make sure to name (or at least number) your chapters. These are the basics. If you want to be extra, make an outline. Whether or not you like outlining during your writing process, providing your editor with a simple chapter summary can work wonders and save time and effort. Another tip is to create a character description sheet. If your editor has a reference for major characteristics, they’ll be able to more easily pinpoint the problem if things go off track.
2. Combine services in packages when possible.
3. Request a sample edit to see if the editor’s style aligns with your vision. Look for things like attention to detail, communication style, whether the editor’s suggestions improve flow, and if they maintain your voice. Good editing shouldn’t feel invasive—it should feel like your book, only sharper.
4. Be clear about your specific needs to avoid paying for services you don’t need. Take some time to assess exactly what you’re looking for in an editor. Do you need a developmental edit to help shape your story’s structure and narrative arc? Or are you ready for a line edit that focuses on refining sentence flow? Perhaps a final proofread is all that stands between you and a polished draft. It’s best to get an objective evaluation of this, either from a professional manuscript evaluation or from beta readers. Once you know what you need, though, clearly communicating those needs ensures you’re investing in the right level of editing and prevents misunderstandings that could cost you time and money.
Q: You specialize in contemporary romance with an emphasis on Jewish romance. However, you also edit gothic fiction with melancholic and spooky vibes. So, what type of gothic features, themes, and/or motifs appeal to you in an ideal manuscript? What elements of horror will you not accept?
I love atmospheric worlds, haunted houses, themes of longing and isolation, and mysterious characters grappling with dark truths. Melancholy? Yes, please. Gore and gratuitous violence? Hard pass. Think Edgar Allan Poe, Mary Shelley, and Shirley Jackson rather than Stephen King and Clive Barker.
I think this is the flip side of loving grammar, with all its buttoned-up predictability and logic (until you look closely and see all the mystery and beauty and creative power). Similarly, I love the dark, gothic shadows in the literary world—brooding, mysterious, and oh-so irresistible. It seems like chaos, like the world turned upside down. But then, moonlit nights, eerie mansions, and secrets just dying to be uncovered have a logic of their own, don’t they? And it’s not all doom and gloom, either. It can be a safe way of exploring ideas and feelings that scare us. It’s the drama, the atmosphere, and the thrill of wandering into the unknown, the shadow side of everyday life.
It’s where every creaking floorboard and flickering candle hides a sinister story. Ghosts? Check. Forbidden love? Most definitely. Strange figures in the mist? Of course.
Also, we have to talk about antisemitism here. Gothic fiction has had a long connection to antisemitic tropes through the depiction of Jewish characters, the use of the Wandering Jew figure, and the portrayal of vampires. My colleague Molly Rookwood discusses antisemitism in fantasy and fairy tales, and I think it’s important reading for authors of any genre. I’m not going to stop reading Dracula, and I won’t ask you to. But I think we have to be honest about what (all) it is. And reading (with critical eyes) classic works by long-dead authors is very different from supporting modern antisemitism (even casual occurrences in books and other entertainment). Death and the idea of the infinite appears to scare everyone. It scared people of the eighteenth century, and it continues to scare (and fascinate) people today. These stories have value. They’re an important part of the modern literary tradition, and they can reveal a great deal about human nature. But they can be told in ways that don’t perpetuate stereotypes. Now that we know better, we can do better. Or at least evaluate and proceed in an informed way. Contacting a Jewish sensitivity reader is always a good idea for non-Jewish writers whose stories feature Jewish characters, culture, or themes.
Q: Can you share one thing first-time writers should know before hiring a copyeditor?
Your copyeditor isn’t here to rip apart your work—we’re here to make it shine. Don’t be scared of edits; view them as a collaborative way to elevate your manuscript. And remember, no manuscript is perfect—we all need editing!
Q: What are the top three sweet contemporary romance tropes you love reading?
1. Small town (I wish these towns existed!)
2. Fake dating (because nothing says romance like awkwardly pretending to be in love and then, oops, actually falling in love).
3. Second chance romance (I’m a sucker for past lovers finding their way back to each other).
I've had the pleasure of interviewing Eva for this editor interview series. Thank you so much, Eva, for taking the time to deliver such amazing responses!
Did you know Eva also interviewed me for her blog? Read my developmental editor interview to learn how MM romance and fantasy romance captured my heart!
About Eva Kelly Hall
Eva Kelly Hall is a passionate copyeditor specializing in contemporary romance, Jewish fiction and narrative nonfiction, gothic fiction, and middle grade. With a love for sentence structure and a knack for spotting misplaced commas, Eva helps writers refine their manuscripts without losing their unique voice. When she’s not reading or editing, you’ll find her sipping coffee or tea, homeschooling her high schooler, or sleeping.