This is often called line editing, but line editing has multiple parts. Because I am an architectural writer and lean more toward the structured side of things, my recommendation is that before you start to seriously focus on the sound and feel of every individual line, you need to be fairly certain the bones of your story are right.
Make sure your plot is in place, your character arcs have made their rainbow in the sky, and your themes are hammered home. I don’t see much use in perfecting a sentence that won’t even be there once you realize a chapter needs to go. For advice on how to do that, see resources on architectural writing and the first steps in editing.
Now, if you’re ready, let’s move on to the line-editing level.
First: Line Editing for Consistent Voice
Consistent voice is partially about the words that come out of your character’s mouth, but it is far more than that. Most literature written today is in limited third person or close third. We will leave first person out for a moment, though much of this also applies there. In stories with third-person narration, we often have multiple point-of-view (POV) characters. We want to be in the character’s head and understand their wants and needs as closely as possible. For this to work, they need to be self-consistent across a spectrum of interactions.
The most evident aspect is dialogue. The way an erudite professor of literary arts speaks is unlikely to match the speech of an illiterate spaceship mechanic—unless, of course, that contrast is intentional. Dialogue on the page should ideally be unique enough to the speaker that dialogue tags become nearly unnecessary. Some characters may use formal language, while others rely on slang or clipped sentences. For instance, a cautious character may hedge statements like, "I mean, … I guess we could try," while a bold character speaks decisively: "Let’s do it."
Think about what your dialogue says about the character. If you want a character to be a strong leader, but every time they speak, they are self-deprecating or equivocating, readers may question, “Why would anyone follow them?” Ensure that speech patterns reflect who your character is at that point in the story. If a character evolves from scared and weak to strong and brave, their speech should reflect this change, or at least hint at their internal struggle. Internal monologue can help illustrate this transition, revealing brave actions while old speech habits linger.
Consider verbal tics or signature statements. Overuse can be annoying, especially if poorly timed, but a character's signature phrase can quickly ground the reader in whose perspective they are following.
This brings us to a character’s internal monologue and thoughts. In limited third-person POV, the narrator is the POV character. What they see and how they interpret the world should reflect their worldview. Imagine two POV characters: a knight protector who is honorable and upright, versus a thief who lives by the rule of “honor among thieves.” How would each react to seeing a lost eight-year-old boy with a hefty belt pouch?
The knight might immediately scan for threats and think about how to protect the child. Questions like “Where are his parents?” and “How can I help?” could shape his observations. The thief, on the other hand, might fixate on the pouch, wrestling with their conscience. They may also assess the crowd for competitors or less scrupulous thieves. Both characters see the same scene, but their perceptions are filtered through who they are.
If your POV character is analytical, their inner monologue will focus on logic and cause-effect reasoning. An emotional character might dwell on feelings or memories. To maintain consistency, read each character’s internal reflections in isolation and ensure their tone doesn’t shift without good reasons. This is also a great place to show how they process past actions. Is another character irritating them? Let them stew over the sound of cracking knuckles or sucking teeth.
Characters also react to stress differently based on their temperament. A pragmatic soldier might respond to danger by forming a plan, while an anxious character could freeze or ramble. Keep emotional responses consistent with their core traits unless intentional growth or change occurs.
Next up: Line Editing Again – Does the Tone Fit the Audience and Genre?
Until then, get your books open and keep editing.
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