An Interview with Developmental Editor Filipa Roque from Fantasy Wordsmith!

Hey Imaginarians and especially all of my subscribers who are interested in creative writing and fantasy fiction. I have a special treat for you today: an interview with Filipa Roque of Fantasy Wordsmith! Filipa is a professional developmental editor and beta reader, and she has graciously agreed to an interview with me today!

Hi Filipa! Tell us about yourself and what you do!

Hi Imaginarians and all subscribers of this talented author. I am a Portuguese fantasy fanatic who has a degree in theatre and a never to be finished masters in Fine Arts. When I reached the age of thirty, a quiet sense of restlessness crept in, nudging me to seek something different. So, I stepped away from familiar paths and found myself in a whole new world, leaving the role of Director of Production at ZABRA.co. Nonetheless, with a bit more distance between us, the project remains dear to me, and I find myself loving it from afar.

Now, life has settled into something gentler. I spend my time as a freelance Beta Reader and Developmental Editor, wandering through the wild woods of Fantasy, discovering all the odd corners and hidden tracks. There is a quiet magic in helping stories find their shapes, walking alongside writers as their worlds take form, witnessing the slow unfolding of something alive.

What is your background in creative writing? Do you only help novelists, or do you help screenwriters, too?

When I was doing my BA in Theatre, I had dramaturgy classes, where we’d pull books and plays apart, really looking at every present and missing aspect. We spent ages on creative writing exercises as well, and that’s honestly where I first discovered how much I enjoyed playing with words. 

I also have some courses on Developmental Editing, Writing Editing, Writing Fiction, Introduction to Teaching Creative Writing, How to Read a Novel, among others. Some of them are simple but insightful online courses, others were taken at renowned universities. 

These days, I only work with novelists. That’s what makes sense for me; it just feels right. Screenwriting doesn’t give me that same thrill. I think after studying it so thoroughly, whatever spark it once held for me has simply faded away.

You have told me that you specialize in the fantasy genre in particular–this is one of the reasons I chose you for my own work. What is it about fantasy that keeps you coming back for more?

My feeling is that, within fantasy, authors are free from the dictates of what is possible or what has been done before. They can make worlds out of nothing. They can put their characters in a position or set of circumstances that simply would not be possible otherwise, and then I get to watch them change and survive, as the world around them shifts. With every new project, I have absolutely no idea what might come up, and that's one of the things I love most.

Also, for me, editing fantasy is always coming home. When I reach for a book to read just for myself, it's nearly always fantasy. There is a quiet joy in working alongside authors who imagine unique worlds, losing myself in their stories and helping to shape the kinds of tales I would choose to read. It is deeply satisfying to take a rough first draft and guide it toward something memorable. That is what always draws me back: the chance to walk in worlds that only ever existed in someone's imagination and to have even a hand in bringing them into being. Truly, I can't think of anything I would rather do.

What are your favorite fantasy works? 

This is such a hard question to answer! I'll have to say, with much pain in my heart for all the stories I'm leaving out, in no particular order: Mistborn Trilogy by Brandon Sanderson, A Chorus of Dragons Series by Jenn Lyons, The Radiant Emperor Duology by Shelley Parker-Chan.

What would you say speaks to you most about a given fantasy work? 

What draws me in most is when the characters start to feel real, not just names on a page but people who struggle with choices that change them, little by little. I find myself swept along by stories where characters are thrown into tangled, difficult situations, and every decision sends ripples through their lives. I have a fondness for writers who can touch on grand ideas, too, like who we are or how power shapes us, but weave these things in so gently that it never feels like a lesson. In the end, it is always that honest thread of feeling running underneath everything that lingers with me. That is what turns a story into something I will not forget.

Besides me, what other authors have you worked with before? 

I have worked with Brendan Noble, Adger R. Matthews II, Mauro Larreal, and many talented others. 

What exactly is developmental editing, and how do you approach this work?

When I edit, my role it to engage with the heart of things, the story itself. I don't scan for stray commas or awkward sentences; That's for other types of editing (which is something some people get confused about). I am looking at the bones and breath of the tale, the way the plot winds through, how the characters move and change, how the pace carries or stumbles, and what themes linger beneath it all. I think about what binds it together, what gives it life, and what draws readers in. When I offer my thoughts, I find myself in two roles at once; part of me is the editor, careful and analytical, and part of me is simply a reader, hoping to be swept away. I will say what catches me, where my interest wanes, what I find myself wishing for, what I might wish was done differently, and what, in the end, makes the story glow or leaves it dull.

To put it into perspective, and if we want to get mote technical, in my report what I deliver is an analysis of the following: Plot Arc and Conflict; Chapter Structure; Character's Arcs, Development, and Personality Consistency; Settings and Geography; Timeline and Chronology;  Pacing; Magic System; World-Building Elements (Cultures/Societies; Mythical Creatures; Lore and History; Economies/Technologies; Languages/Dialects); Unique Terminology and Invented Words; Plot Devices, Objects, and Artifacts; Mature Content and Sensitivity Notes; Inconsistencies and Revision Recommendations; and finally, Market and Genre Fit Evaluation. I think it's fair to say I really give my all and dive deep into each author's work. 

When you are beta reading, what is your process to help writers improve their manuscripts?

When Beta Reading, I try to put myself in the shoes of an average reader, allowing myself to be swept up in the story, but, at the same time, watching for how well the characters feel real, whether I find myself swept up in the pace, and whether this world feels alive underneath my feet. As I turn pages, I write down my thoughts, pointing to what is bright, what is working, and what is missing, perhaps an even further exploration of what is happening in those missing passages.

I always find myself in an effort to give what I know is an encouragement to an author to better get what they intend to get across to readers in their manuscript. Specialising in Fantasy and all its subgenres, I want to maintain the spark for each story, as well. Of course, in actuality, what I strive to provide is merely an air of fresh perspective, lifting an author’s spirits to head back into what they’re writing with renewed zeal in renewed confidence, themselves. 

When you read King of the Forgotten Darkness for Netgalley, you liked it, but remarked that you were hoping for more. To be completely honest, this is one of the reasons I reached out to you to look at the sequel, The Treacherous Fire. I like a challenge! To my pleasant surprise, your feedback for The Treacherous Fire was glowing! But I want my subscribers to know just how difficult that is, because I have learned that you are very picky! Can you share with us all of the points and dimensions of a manuscript you examine, so everyone will know how thorough you are?

It is always fascinating to watch a story grow and deepen over time. When I settle in with a manuscript, I try to look at it from many angles. I always begin with the plot, asking myself if everything fits together and if there is enough tension to carry me through. I want the story arcs to feel complete, not as though threads have been dropped and left untied.

Characters matter deeply to me. I look for what drives them, how they are pressed and changed by what happens, and whether their relationships and actions ring true. If I cannot believe in the people on the page, it becomes difficult to care about their fate.

World-building is another thing I pay careful attention to. I want the setting, the cultures, and the magic to make sense, to have costs and to serve the story, not to pull me away from it. The pace of the book matters too, obviously. There are times when a story should move quickly, and others when it ought to slow so we can feel the weight of a moment, but it should never plod or rush past what matters.

Themes are important to me as well. I always look for those bigger ideas that echo through the story, whether it is fate or power or something else, and I want them to mean something by the end. Dialogue can reveal so much. I listen for voices that sound real and distinct, not just words on a page. The writing itself must draw me in, too, and I notice whether the prose is clear and immersive and if it shows and lets the reader magine, rather than telling them everything and cutting the experience short.

I do not ignore where the book sits within its corner of fantasy, either. It helps to know how it stands apart, or what it shares with others. But most of all, I want to feel something by the end. If there is no emotion, no echo left behind, then something is missing. Looking at all these parts helps me offer feedback that can actually help a story become one that readers will truly want to follow.

In my reports I like to show my ("picky", as you say) feedback on Weaknesses vs. Strengths analysis; Revision Priorities to guide possible still needed edits; Identification of any plot holes or inconsistencies; Overall assessment of genre alignment and structure; Plot, magic, and world building analysis; Pacing Overview; and in the end I always answer 37 fantasy-focused standard questions that could be asked to anyone who reads the book. 

You recently changed your website from Thoughts on Timeless Tales to Fantasy Wordsmith. What, if anything, has changed about your new look, and new site? 

ToTT began as a modest blog where I simply published my reviews whenever I felt like it, long before it ever crossed my mind that this could become a career. It was nothing more than a passion project at the start. As the seasons passed, I found myself wanting to take it further and dip my toes into freelancing. I made a few changes to the blog and started offering my services through a freelance platform, though their commissions took a fair (read: unfair) share of what I earned. Over time, as I built stronger ties with a handful of authors, a few reached out, asking if I might work with them privately, which would save some trouble on their side as well. That was the turning point; it simply unfolded out of necessity. I had arrived at a place where I needed more structure, something that felt more professional and steady. And so, that was how Fantasy Wordsmith was born.

Where can we find you? What social media platforms or other avenues?

Honestly, I'm not a social media person at all. So, for now, you can find me at my website https://fantasywordsmith.com, at my blog https://fantasywordsmith.blogspot.com, and on my new instagram https://www.instagram.com/fantasy.wordsmith. 

Thanks so much for your time, Filipa, I hope to work with you again soon, and in the meantime, I recommend any budding authors out there to reach out to Filipa to get help with your manuscripts. You won’t regret it!

Thank you so much, Erik, for your interest in my work, my process and my background. It means a lot.

If any authors would like me to answer something more specific about my services, feel free to email me at filipa@fantasywordsmith.com.

EG

Filipa Roque

Developmental EditorBeta Reader | Reviewer

Fantasy Wordsmith

filipa@fantasywordsmith.com

fantasywordsmith.com