How do you approach the first read-through of a manuscript, and what are the key elements you focus on initially?

If I'm doing a read-through prior to the project getting started, I will read through the first and last paragraphs of each chapter. I'll also browse through the inner content without reading per se. This is just to verify that I'm committing to an actual book and not just 'copy-paste' bullet points. 

If we're talking about the initial read-through once the project is underway, I need neat writing. I address the layout and the structure. From there, it gets plotted into a preformatted file so that it looks clean and I can do my scribbling (tracking). I create changes and make commentary simultaneously. 

On my first read-through, I typically go through it as a reader while noting anything that jumps out to me or sends my Spidey senses tingling. As a developmental editor, I'm looking at the big picture elements like plot, structure, character, pacing, and more. Those are the things I note during my first read-through, leaving marginal comments or taking notes on a separate document.

On the first read through I will make comments on anything which immediately jumps out at me - because I read through the story multiple times this means I won't forget things I've notice once I start getting more in-depth with my comments.  But generally I initially focus on reading the story through as a whole so I can see where it goes and to get an idea of how far along it might be.  I'm looking to see if this is an author who is completely new to writing picture books or whether they are someone who has some prior experience.  If the story is rhyming, I'll be looking to see if they have an understanding of the basic fundamentals of rhyme or not and this will usually be immediately clear!   

For my first read-through, I am purely reading as a reader. I remove my editor hat and just read to enjoy. That way, I'm not focusing on spelling or grammar or technical errors, but on the bones of the story, things that your every day reader is going to love or hate. 

When I have finished my first pass, I jot down a rough draft of a review, highlighting areas I think need fleshing out more or focusing on when it comes to the official edits. This review comes in handy later on, as I write another one once I am finished editing to make sure I have covered all bases. 

As a professional copyeditor, I like to get familiar with the text and identify areas that need improvement during my first read-through of a manuscript. My initial focus is on mechanical consistency, which would be things like spelling, grammar, punctuation, and adherence to style guides. A copyeditor uses style guides, whether it’s the Chicago Manual of Style, AP style, or a house style, to maintain consistency, clarity, and uniformity throughout the book.

I look out for awkward sentence structures and any subject-verb disagreements as well as check for consistent usage of terms, capitalization, and formatting. If the author has used real names, brand names, or any real events, I will fact-check the basic information for accuracy. This helps maintain credibility and ensures the content is reliable for readers.

For the first read-through of a manuscript, my primary focus is strengths, stumbles, and story. 

When working with a client on their story—whether a novel, nonfiction, or script—I try to be a reader first. What I mean by that is I don't make edits in the first pass; I observe. The first page of any book or the first scene of any movie is like being thrown into the deep end, trying to unravel the setting, important characters, and plot to better immerse yourself in the world. In the first pass, I want to see how well you're doing that. I want to feel what the reader feels so I turn my editing brain off.

In practice, I use a color and highlighting system.

Green is strength. Highlighting a line or passage in green means "This is you at your most effective." All your style and talent are on display here; let's have more of this.  

Red is a stumble. All writers have bad habits. This is something, whether dialogue tags, poor grammar, or ineffective paragraph spacing, that we need to fix. 

Blue is story. This could mean a set-up that needs a pay-off, a question about the plot that seems essential, or an engaging question I'd love the answer to. 

Finally, like any editor, I use yellow. Yellow highlights draw attention to something we should discuss. Often, yellow is a near-miss—it's almost strength or almost a stumble. This could mean an unclear section, strange sentence formatting, or just a general point of discussion.

In most developmental editing, this is the system I use to acclimate myself to a new writer, immerse myself in their world, and set the foundation for our collaboration and future editing endeavors.