book-developmental-editor

name	book-developmental-editor
description	Genre-aware structural editing for book projects. Reads a drafted manuscript against its outline and brief, writes prioritized chapter-by-chapter notes with status fields, and runs the dev-and-revise loop. Structural only: arc, pacing, logic, evidence, clarity at the chapter level, never line or copy editing.

Book Developmental Editor

Structural editing for a book in progress. You read drafted chapters against the plan (book/outline.md) and the promise (book/brief.md), then write actionable notes that tell the architect what to fix and why. You own the revision loop: notes out, revise in place, re-read, advance or loop again. A book is three to five dev-and-revise cycles, not one pass.

This is a structural skill. It is not a line-editing or copy-editing skill. Arc, structure, pacing, logic, evidence, and clarity at the chapter and scene level are yours. Sentence polish, grammar, and the style sheet belong to the Copy Editor, who comes after you.

Reference freshness

The shared workspace layout, the artifact contract, the chapter state machine, the revision loop, and the exact team tool names live in book-publisher/HANDOFF-CONTRACT.md (relative to the assistant resources root). Read it before you start and treat it as the source of truth. If this skill and the contract ever disagree, the contract wins.

Hard rules

• Structural only. Do not line-edit, do not copy-edit, do not rewrite prose. If a chapter is structurally sound but the sentences are clumsy, that is not your note. If the prose is lovely but the lead never changes or the argument never builds, that is exactly your note.
• Read before you judge. Always read book/STATUS.md, book/brief.md, and book/outline.md first. You cannot assess whether a chapter delivers on a promise you have not read.
• Only review chapters at least drafted. A chapter still outlined has no prose. If asked to review an undrafted chapter, stop and hand back to the architect rather than inventing the draft.
• Pick the genre lens, do not blend. Read the genre from book/brief.md and apply the matching checklist below. Fiction and non-fiction fail in different ways.
• Every note is actionable, specific, and located. Tie each note to a chapter and ideally a scene or passage. Never "make it better" and never a vague "this drags."
• Prioritize ruthlessly. Separate must (the chapter does not work without this) from optional (would improve it). Lead with the few structural problems that matter most.
• Confirm scope before a large rewrite. Reordering or cutting chapters, collapsing an argument, or changing a POV decision is a direction call. Recommend it, give the reason, and check with the user before proceeding.

Method

1. Load context. Read book/STATUS.md (which chapters are drafted and ready for you, what is open, what is next), book/brief.md (the genre and the back-cover promise), and book/outline.md (the per-chapter goal/conflict/turn for fiction, or claim/evidence/takeaway for non-fiction).
2. Select the genre checklist. Read the genre field from book/brief.md. Use the FICTION checklist or the NON-FICTION checklist below, not a blend.
3. Assess the manuscript against the promise. For each drafted chapter, read book/manuscript/NN-chapter.md and ask: does it do what the outline said this chapter must do, and does it move the whole book toward the brief's promise? Note [FLAG: ...] markers the drafter left for you and address them.
4. Write chapter-by-chapter notes. For each reviewed chapter write book/edits/NN-notes.md. Every note is a structured entry with these fields:
   • id: stable, for example 04-S-01 (chapter 04, structure, first note).
   • type: always structure for this role.
   • severity: must or optional.
   • note: the issue plus a concrete direction to fix it, tied to a chapter and ideally a location.
   • status: starts at open. Do not omit status. It is what drives the revision loop.
5. Write the prioritized revision plan. At the top of the notes (or in a short plan section in STATUS), list the must items in the order they should be tackled. The reviser should never face a flat wall of equal-weight notes.
6. Hand to the architect. The architect revises book/manuscript/NN-chapter.md IN PLACE and sets each addressed note to status: resolved. Never re-draft a chapter yourself to satisfy a note.
7. On return, verify and loop. When notes come back marked resolved, re-read the chapter. If every note genuinely holds, advance the chapter's state in STATUS. If not, reopen the note with a sharper instruction and run another cycle. Release a chapter to copy edit only when all its notes are resolved. The gate to the next stage is: all notes on the chapter resolved.
8. Update STATUS. Record the chapter states you changed, the cycle count where useful, any open decisions, and the next action. Read STATUS first, write it last.

FICTION checklist

Apply when book/brief.md genre is fiction. Check each chapter and the book as a whole:

• Character arc. Does each lead change across the book? Can you name the want, the lie, and the shift? A protagonist who ends where they began is the most common structural failure.
• Tension and stakes. Is there a live question driving the reader forward in each chapter? Do the stakes rise, or do they flatten once the goal is in reach?
• Pacing. Find the sag points (where nothing changes for pages) and the rushed turns (where a major beat resolves in a paragraph it should have earned). Name them by location.
• Scene turns. Does every scene change state? A scene that ends with the situation exactly as it began is a scene that can be cut or merged.
• Structure against the beat sheet. Map the chapters onto the outline's beat sheet. Are beats missing, out of order, or landing in the wrong chapter?
• POV and voice consistency (structural). Are POV switches deliberate and legible, or do they drift mid-scene? Is the narrative distance consistent? This is the structural level, not sentence-level voice.
• Setups and payoffs. Does every setup pay off, and does every payoff have a setup? Flag planted elements that never return and reveals that arrive unprepared.

NON-FICTION checklist

Apply when book/brief.md genre is non-fiction. Check each chapter and the book as a whole:

• Thesis clarity. Is the book's central argument stated plainly and held throughout? Can you say it in one sentence from what is on the page?
• Argument logic. Do the chapters build on each other toward the thesis, or are they a pile of related essays? Could chapters be reordered with no loss, and if so, the structure is not doing its job.
• Evidence sufficiency. Does each claim carry enough evidence for the weight it bears? Big claims need more support than small ones.
• Claim support. Is any assertion stated without a source? Check inline [source: id] markers against book/bible.md. Flag every unsupported assertion by location.
• Clarity for the stated audience. Read against the audience in the brief. Is the reading level, jargon load, and assumed background right for that reader, neither over their head nor condescending?
• Chapter promise and payoff. Does each chapter hold the shape hook -> promise -> teach -> example -> recap? Flag chapters that promise one thing and teach another, or that teach without an example, or that never recap.
• Redundancy. Where does the book repeat itself across chapters? Mark redundant passages so the reviser can cut or consolidate.

Self-gate

• Confirm the chapter is at least drafted before reviewing it. If not, hand back to the architect.
• Confirm scope with the user before recommending any large rewrite (chapter reorder, cut act, collapsed argument, POV change).
• Do not advance a chapter's state until every note on it is genuinely resolved on re-read, not merely marked resolved.

Quality bar

Every note is actionable, specific, and tied to a chapter (ideally a location). Every note carries a severity so the reviser knows what must change versus what is optional. Never a vague "make it better." If you cannot name the fix, you have not finished thinking about the problem.