What is proofreading?

Sometimes people use the terms editing and proofreading interchangeably, but there is a difference, and it’s good to understand it.

Let’s start with proofreading. It’s basically the final review of your work. It is the last chance you have to catch any inconsistencies in grammar, punctuation, spelling, formatting, and presentation before publication or submission to another entity. It’s like a second, and final, set of eyes after you’ve done your best to produce an error-free manuscript. The proofreader then goes in there and finds all the things you missed.

A proofread is not about reviewing the structure, plot elements, character development, and so on. All that should have already been done, so the actual proofreading is quite a quick process and the turnaround is fast.

Editing is very different, and of course, there are multiple levels of editing. But editing basically addresses the writing at a much deeper level. It is looking at readability, clarity of presentation, and tone, and may also cover the syntax issues mentioned above. If it’s a developmental edit, then it looks at character development, plot construction, and setting elements.

Read more about the differences at our blog, Editing Vs. Proofreading.

The importance of proofreading

All documents require proofreading, even if you’re a confident writer. When you’re completely satisfied with your document, and perhaps you’ve already had some other editing done, and there is nothing further you feel you can do, this is when a proofread comes into its own.

It’s like giving the work a final polish. And you will be amazed at just how much a proofread still picks up.

Tips

We do advise you approach a professional proofreader, and advise you to check our further blog, Where to Find Help When Proofreading Your Writing and even consider our services. But if you’re determined to give it a go, here are some tips to get you started.

You may begin to notice that you make similar errors throughout the manuscript, and it can be then good to make passes through the document, correcting all those elements first.

1. Give it time

The first piece of advice we can give you about proofreading is not to rush the process. Do all you can on the structure and organization of your story or manuscript first. When there is absolutely nothing further you want to change, no characters to move around, scenes to spice up, or dialogue to play around with, put it down. Take a break, sleep on it and you’ll come back to it with fresh eyes.

When you’re ready, get started doing your proofreading using the tips below, preferably at a time of day when you’re alert and there are no distractions. When you’ve done all you can on that proofread, let it sit again, and have another go. If you find that you’re still doing actual editing during the proofreading, you need to stop the proofreading process, finish the editing, then come back to the proofread.

RELATED READ: Why our editing services are exactly what you need

2. Stop at every punctuation mark

Punctuation is often the bane of many writers and their editors or proofreaders. It can be hard to understand punctuation rules, use of commas, quote marks in dialogue, semicolons, em dashes, ellipses, and so on.

It can also be helpful to edit the manuscript for one thing at a time, such as the use of punctuation, even one particular type of punctuation because you want to be consistent all the way through.

Some common punctuation areas include wrong or missing prepositions, no subject/verb agreement, missing commas in a series or unnecessary commas, incorrect use of semicolons, incorrect use of articles, and sentence fragments.

These are good areas to familiarise yourself with. If in doubt, consult a resource or style guide to help you. And if you’re still not confident, then it’s definitely time to consult an expert.

3. Tenses

Unnecessary shifts in tense can be a fairly common problem. Just remember, if you start the narrative in one style, it should remain that way throughout. There may be some minor variations, such as when a character speaks (present tense), or the story delves into something that has already happened (past perfect tense), otherwise, it should be consistent throughout.

4. Read it slowly, even backwards

Reading a manuscript slowly, aloud, or even backwards a sentence at a time can help you isolate problematic sentences, phrases, and syntax. Effectively, it’s a way of slowing you down so you’re more likely to pick up the errors.

5. Verify all spelling

The spelling of names can vary, for example, Stefanie and Stephanie, but it is important to be consistent. It’s also common that letters are missed, or there is a case error such as in a name like McDonald (Macdonald or Mcdonald might be other variations).

Brand and company names can often be misspelled or have a letter case error. For example, eBay might be written as ebay or Ebay. Other brands, like McDonald’s, have specific punctuation that is sometimes missed.

The title of books and articles should also be checked. Thinking you know the title, and actually checking that is the exact title, are two different things. So double-check everything.

6. Formatting

All formatting should be double-checked in a separate pass through the document. Things like page numbers, header/footer materials, fonts, paragraph spacing, line spacing, and additional spaces between sentences are some of the common areas where there can be inconsistencies.

Most publishers, universities, academic centers or wherever you are sending your manuscript have style guides, or you can use a commonly accepted one. If in doubt, go for consistency in the formatting approach to your manuscript.

RELATED READ: Different Stages of Editing

7. Dates and times

Writers can spend months, even years, writing a manuscript. And they may, therefore, have referenced something that happened some time ago. When you read through, just make sure those references are now relevant to the current day.

8. Get help

Once you’ve gone through the document several times, used the spell checker on your computer, or even an online program to find errors, you’re ready to get further help. These programs are very useful, but never the same as a set of human eyes. A beta reader or trusted friend can be useful in picking up further errors, but a trained professional is even better.

Conclusion

Writing and editing your document is a long process. You invest a lot of time into the process, so it’s good not to baulk at the final hurdle or take your foot off the gas. A proofread is a vital component in polishing your document, and the final icing on the cake in terms of presentation.

The post The Best 8 Proofreading Tips You Should Know appeared first on Firstediting.com.

Book Editor Duties

When choosing your book editor there are a range of questions you can ask them to help you. First, you will need to determine what you are looking for regarding your help requests, particularly depending on what stage you are at in your book. A book editor can help you begin your book from the get-go as well as add finishing touches. Get a feel for your book editor by learning about their past experiences, including what types of books they have edited, what they can assist with, and whether they can meet your demands. Get them to take a look at your project and develop a quote so that you can see if they fit with your budget and the scope of your project. One of the best ways to assign duties to your book editor is by assessing your strengths and weaknesses and determine what areas you can use help on to get your book completed. Focus on doing what your do best, and task out the other areas of the book writing to the editor. You will find that a good book editor will be able to help you get your book completed much more quickly if you do this because it allows you to work on your strong points rather than get bogged down on the areas that your struggle with.

RELATED READ: Editing vs Proofreading

Qualities of a Good Book Editor

The qualities of a good book editor include having a personable and fresh communication style that fits with your timelines and schedule. This is one of the key points that you will have to consider as it is a key to your success. Make sure that you get a book editor that has qualities of editing that fit with the language and style of your written content by having them go through some of your writing and edit it as a sample. See how they perform and if their additions and amendments are what you are looking for. You can always work with your editor to refine the process to ensure that the tasks you assign them can be changed at any time to fit with your writing performance. There are many different stages that you can begin your editorial sourcing process including:

• Pre-planning your book
• Chapter outlines
• Storyline development
• Character development
• Copy editing
• Content writing
• Content editing
• Publishing recommendations
• Style editing
• Formatting

One of the most challenging aspects of publishing a book can be the formatting of the document itself, as this can be time–consuming and difficult for some writers. A good book editor can help you with the formatting so that you can spend more time on the writing of the book.

Hiring a Book Editor

Again, determine the style of your book, whether it is academic, fiction, non-fiction, research-based, or some other genre, and choose an editor that fits with your genre. Look at the hiring process and determine if the budget and deliverables are consistent with the goals of your book. Many writers will get lost in this process because it can be confusing and cumbersome, but if you choose a professional service for your hiring, then it can be much more frictionless. Some of the editing tasks you can assign to your editor are:

• Content editing and content writing
• Copy editing
• Line editing
• Style editing
• Manuscript editing
• Organizational structure edits
• Other editing

There is really no limit to the duties you can assign to your editor when it comes to writing your book. Once you have an established relationship, then the communication between you and your editor can be more seamless and your writing career can be kickstarted, giving you more time to spend on writing and publishing. Analyze the costs of the editorial process in conjunction with your expected rate of return on your book sales by assessing the market for your written works, and work with your editor to create a strong feedback process

RELATED READ: How to Self-Edit Faster and More Efficiently

Publishing Your Book

Getting your book published should be your top priority, and this should be considered based on the content you have and the content you want to publish should be professionally edited so that it meets the demands of readers around the world. The greater the audience, the better your sales will be, and this can be manifested with the help of a good editor. In today’s digital age, getting an editor can be done through an online service that enables a faster turnaround than conventional paper-based methods. Using a digital style of editing can ensure that the book you are writing is given the attention and work that you require to get it published.

Building Your Relationship With Your Book Editor

Many writers stick with their chosen editor once they have reached success. This fortifies the relationship between the author and the editor because it builds trust and improves the accuracy and efficiency of creating and publishing works. Some writers have multiple works on the go, and multiple editors, so it is important to make sure that your projects are organized with details so that you can accurately manage your writing goals. Having more than one editor requires you to differentiate between the tasks and the project, and your publishing goals. Once you have had some experience in this area, it will get easier and easier for you because you will have the experience and understanding of working with a good book editor, which you can then refine and eventually go with your best prospects that fit with your writing and communication style. An editorial relationship can last a few weeks, or over the course of your career, and you will find that the assistance of a good book editor can change and revolutionize your writing process because it opens up a whole new world of possibilities for exploring the content you can produce and publish.

In this article, we covered many aspects of the writer-editor relationship and how you can move forward to hiring a good book editor, as well as getting tasks assigned so you can move forward with writing and publishing your book.

The post What Does A Good Book Editor Do? appeared first on Firstediting.com.

Professional editors look for specific themes and structure in epic fantasy adventure. Fantasy has many specific subgenres. Thus, it is always vital to identify your subgenre as a fantasy author so your editor can accurately determine if you are fulfilling your reader’s expectations.

Your professional editor evaluates your epic fantasy adventure novel based upon many factors, including its use of an epic setting, theme, plot, or stature of its characters.

We also know epic fantasy as high fantasy. We commonly define it as containing three unique elements which make it epic. First, it must be a trilogy or longer to claim its status. Second, it commonly has a time-span which encompasses many years. Third, an epic fantasy contains a unique world, universe, or backstory as the foundation for the novel. We set fantasy in an alternative world, rather than the “real” world.

Key epic fantasy elements editors look for

1. Trilogy or longer
2. Time-span of many years
3. Unique world with fantasy themes

Common fantasy themes/tropes

A professional editor evaluates your novel’s theme to ensure it meets the fantasy reader’s expectations based upon the standard tropes within this genre and its specific subgenres.

Fantasy tropes are significant or recurrent themes, images, or story elements used as a common convention by fantasy authors.

• The chosen one with an unlikely or reluctant hero
• The dark lord in a traditional good vs. evil story
• The quest with a heroic or villainous search for power or knowledge
• The mentor which often includes magicians, warriors, hermits, and more
• Magical worlds with all-powerful artifacts based in ancient or medieval settings
• Damsel in distress or femme fatale stereotypes
• Dragons
• Taverns
• Epic journey

Common fantasy narratives may also include themes which are common in general fiction.

Fantasy fiction narratives

• Hero’s journey
• Individuals vs. society
• Tradition vs. the new
• Man vs. nature or himself
• Coming of age stories
• Love & betrayal

Be unique in your fantasy story

Make the use of fantasy themes unique in your story. Professional developmental story editors look for your unique and creative use of the fantasy tropes. Make your story stand out by having a twist or surprise within your plot.

• Subvert your readers’ expectations to make your story more exciting
• Create clear rules for the use of magic so it is more acceptable and obvious when there is a genuine need for it
• Implement the trope as your foundation of an already emotionally satisfying story

After reviewing your fantasy writing, story editors advise you to develop or delete various sections and themes. Of course, this is based upon the genre standards and their professional training. Obviously, you ultimately decide to accept or reject these changes.

Common elements of fantasy fiction

There are many common elements used when writing fantasy novels. It is these unique features which identify this genre and capture your audience’s attention.

• Magic based upon a well-defined system. This element identifies fantasy as separate from other fiction genres
• Unique worlds clearly set fantasy apart
• Mythological creatures, races other than humans, and complex characters
• Central conflict, such a struggle for mastery
• Power structure or system of governance
• Adventure

Magic or other supernatural phenomena in the plot, setting, characters, or theme is a key element of fantasy fiction. Including magical creatures such as elves, dwarves, and goblins also creates the fantasy world.

While history, romance, and action-packed adventure may be included in your fantasy story, magic is the element which sets this genre apart from the others. Myths, fairy tales, and legends are also traditional fantasy themes.

How to critique your fantasy world

Fantasy is based on your world-building skills. Your fantasy world creates the background for your major events, character preoccupations, and the governance or nature of its morality. Be sure to include the backstory, history, details, and explanations for the fantastical beasts which inhabit your world. Your editor reviews your presentation to ensure it is consistent and believable.

Professional editors look for feasibility in fantasy stories.

“Fantasy needs to be feasible.

When it stretches the imagination, it still has to work. For example, it’s okay if fire freezes and ice burns, but there needs to be an explanation of how that happened.”

Lee Ann, certified StoryCoach Editor for FirstEditing

Remember to show, not tell, when creating your fantasy world. Keep your facts straight throughout. Be consistent and eliminate any contradictions. Your editors will highlight any lack of clarity for you to revise.

Professional editors look for details from fantasy authors.

“When I edit a fantasy novel, I look for detail.

If they’re gonna create an entire fictional universe/world, let’s provide lavish detail as to what the denizens look like, what types of flora and fauna exist there, how people dress, what types of customs/traditions/religions they practice, and their level of technological development. In other words, make it easy for the reader to willingly suspend disbelief and step into this created world.”

Dr. Vonda, certified StoryCoach Editor for FirstEditing

How to assess your fantasy scenes

Professional editors assess your world-building scene by scene. The landscape your characters inhabit and how you describe it is important for your audience. It creates the tone for your story, along with the vivid experience shared via your descriptions, which should include all the senses.

Also, ensure you use variety within each scene’s entry & exit story elements.

Professional editors look for intriguing fantasy worlds.

“Create the world of your epic fantasy novel well.

A fantasy novel is a whole other world. You need to create this for your reader by providing the history, the backstory, the explanation of magical or fantastical beasts, powers that people have, etc. Use all the scene-setting elements you can to outline the smells, tastes, touch, sights and sounds of that world. What makes it unique and special? Show us through your descriptive language.”

Joanne, certified StoryCoach Editor for FirstEditing

How to write effective character point of view (POV) in fantasy

Editors check for consistent use of your narrative point of view. It affects everything from your character development to the overall fantasy writing style.

You must clearly communicate your POV character’s goal. Always include the emotional impact which results from their ultimate success or failure of that goal. Be sure to highlight the consequences of your POV character’s action to create tension and engage the reader.

Ultimately, there should always be a clear underlying goal. Regardless of which point of view you choose for your fantasy book, make sure it meets these qualifications.

How to evaluate your fantasy content

Editors evaluate how well you have plotted out your story, series, character arcs, story beats, world systems, rules, etc. How these ingredients come together determines the success of your story. While there are many unique fantasy themes to include, we always return to the foundation of a strong story. Your editor assesses your story arc and key scenes to ensure you have a strong foundation.

Professional editors look for conflict in fantasy.

“Throw in tension and conflict.

Each scene in your story should have some element of tension in it and even conflict. Tension can be of the romantic kind, angst between characters, flaws in their own character they battle or even just the struggle/desire to reach a goal. While characters might reach a goal within a scene, their underlying goal must still be a bit further away with lots of hurdles and obstacles on the way to achieving it. If they achieve their goals too easily it becomes unrealistic and readers will lose interest as there is no underlying tension. While we don’t want to torture our characters, readers do relate to characters that struggle to get where they need to because of the tensions they face.”

Joanne, certified StoryCoach Editor for FirstEditing

Fantasy settings often happen in a distant time & place. Characters have magical powers and consist of imaginary creatures. Often, the plot is based upon good vs evil.Professional editors look for conflict in fantasy.
“Throw in tension and conflict.

Each scene in your story should have some element of tension in it and even conflict. Tension can be of the romantic kind, angst between characters, flaws in their own character they battle or even just the struggle/desire to reach a goal. While characters might reach a goal within a scene, their underlying goal must still be a bit further away with lots of hurdles and obstacles on the way to achieving it. If they achieve their goals too easily it becomes unrealistic and readers will lose interest as there is no underlying tension. While we don’t want to torture our characters, readers do relate to characters that struggle to get where they need to because of the tensions they face.”

Joanne, certified StoryCoach Editor for FirstEditing

Fantasy settings often happen in a distant time & place. Characters have magical powers and consist of imaginary creatures. Often, the plot is based upon good vs evil.

How to structure your fantasy novel

Editors evaluate the structure of your fantasy story to ensure your success at engaging your readers. Our certified StoryCoach editors use a methodical and an objective approach to review your story arc, assess the 5 key scenes, and evaluate with a checklist of story elements for each scene.

In fantasy stories, your editor critiques the story structure, which may include the following features.

• Your hero is challenged and must accomplish X or Y happens. Have you created an obvious goal with consequences which engage your readers?
• Your fantasy may include other subplots. Do these interweave and support the overall story arc?
• What are the consequences/purpose for each plot/subplot?
• Do they occur within first ⅓ of the story?
• Are the stakes are clear to your readers?
• Have you created an inciting incident (rising action)?
• Does this occur within the first ⅓ of the story?
• Where is the story climax? Is it sufficient for your audience’s expectations?
• Do you have a logical conclusion?
• Do you neatly tie up the loose ends?
• If not, have you created a nice cliff hanger which leads to your sequel in your epic fantasy series?

How to establish your fantasy novel pace and balance

After reading through your story, your editor will assess its pacing. The average chapter length in fantasy novels is typically between 3K and 10K words. Your editor will compare the word counts for each scene with the events to ensure balance.

A fantasy book often has up to 150,000 words due to all the descriptions and backstory necessary to create and depict your fantasy world. Be sure to include all the necessary details so that your readers attach to your characters and their adventure.

Professional editors look for epic length in fantasy.

“Make it long enough.

Fantasy novels are often on the longer side because of the detail required above (perhaps 120,000 words plus). Don’t short-change your reader by not providing that detail. Be extravagant if you have to. Don’t be afraid to get creative and detailed. This might be a world that has particular rules or physics, unusual geography, strange beings. The reader needs all that detail.”

Joanne, certified StoryCoach Editor for FirstEditing

Your editor will highlight where the story drags and specifically instruct you on how to remedy this developmentally or structurally via placement, the word count, and description. They will also point out anything boring, dragging, or wordy to ensure you can revise it for your readers.

Essentials for writing fantasy characters

Editors look for emotional engagement of your readers via your characters, which should be engaging. You want your audience to empathize with them.

Professional editors evaluate your fantasy book by reviewing the following details.

• Are your characters interesting to your reader?
• Do you use appendices for your characters if necessary?
• If so, does the appendix include the characters’ relationships and roles?
• Have you created unique characters with specific dossiers (likes/dislikes, characteristics, backgrounds, etc.)? This is especially important if you have different POVs.
• Does each character have their own arc? Do they start strong, grow in skills/beliefs/goals because of their challenges, and achieve unique results (success, failure, other outcome)?
• Are there any inconsistencies, such as use of terminology or personality traits, within your novel?
• Is there any lack of agency where the character is an object of the plot instead of an active person making their own choices?
• Is there any other areas which lack clarity?

Professional editors look for consistency in fantasy characters.

“I look for character consistency.

Each character should have unique mannerisms/dialect/looks and keep them throughout your story.”

Dr. Vonda, certified StoryCoach Editor for FirstEditing

Checking your fantasy book’s emotional beats

Your editor will review your characters and plot to determine where your reader should feel emotion and ensure it is happening. Once this is identified, you can make the changes during your revisions.

The post What Editors Look for in an Epic Fantasy appeared first on Firstediting.com.

Role of a nonfiction editor

The role of a nonfiction editor is currently evolving. In the past, a freelance nonfiction editor would pretty much fix your typos, note any glaring errors, and send you on your way. The publishing house would then have in-house editors who would fact-check and fine-tune, generally with lots of back-and-forth communication between the author and the editor.

Nowadays, it’s hard to catch the attention of a publishing house, and there’s no shame in self-publishing. However, without that final in-house editor meticulously checking every detail of your book, you’ll need to find someone to do it on your own.

Define the type of editing you need

The type of editing you’ll need depends on your writing and your goal. As stated in this blog on Reedsy.com: “If you’re unclear about your book’s structure, or unsure if your argument really lands, you’re probably best off getting a developmental edit. On the other hand, if you’re confident in the overall organization and direction of your book but feel like your language could use some fine-tuning, then you’ll be looking at a copy edit instead.”

If your goal is to submit your manuscript to a publishing house, you’ll probably want a book proposal as well, or at the very least, a query letter, author bio, and synopsis to send in with the first few chapters of your manuscript.

What to ask before hiring them

In a nutshell, @FirstEditing posted a tweet listing ten questions to ask a potential editor. While these questions aren’t specifically directed toward nonfiction editors, the questions are valid just the same. They include asking about the editor’s experience, qualifications, and references, as well as their communication style and if they offer a free sample edit.

Additionally, there are some issues you as a writer need to be clear about before hiring an editor. From the blog mentioned in the tweet above comes this sage advice.

Before you reach out to a professional editor, you can consider some introspective questions first. These are not necessary but they can definitely assist with preparing for professional editing.

Ask yourself:

• What is your goal for your book & how does editing support this?
  • Define your genre, sub-genre, and style of writing
  • Write your blurb which serves as your
    • Promise to your readers
    • Guideline for your editor
  • Know your audience –
    • What are their expectations from this genre?
    • What are their expectations from your blurb?
• What do you need from your editor?
  • Style guides, submission guidelines, agent requirements, etc.
  • Editing service and support services
• What do you want?
  • Different levels of editing
  • Different depths of service
  • DIY vs DFY
• What can you afford?
  • How important is your reputation
  • Editing is an investment

Filter out editors

When you’ve narrowed your search down to an editorial service or individual freelance nonfiction editors, you can start the process of elimination to help you decide with whom to place your trust. Some of the 6 Rules to Filter Out Bad Candidates from Bennett R. Coles may be a bit controversial. For example, “Rule #1: If the editor has an extensive list of genres on their website, then they are positioning themselves as a jack of all trades, which won’t be a good fit for you.” In reality, that editor may have been doing a great job for his or her many clients over a number of years, even decades, thus truly building an extensive list of genres.

Ask for sample edits and check references

Shikha Pandey is a creative, content and script writer based in Mumbai, India. She has this advice for writers looking for a nonfiction editor. “I would recommend you go with the editor you can trust. You can choose the right editor by giving them a sample and getting a free edit done. A lot of experienced and professional editors often agree for a free edit as it lets them see your manuscript and lets you get a sense of how they work. You can also go through their credentials and testimonials provided by previous clients to gauge their quality of work. The onus is on you for doing the research because you know the stage your manuscript is at and the amount of help required to complete, polish and ready it.”

Ensure communication flow

Many online editing services (and freelancers on sites like Fiverr.com and Guru.com) offer a one-and-done type of edit. There’s nothing wrong with this, it’s merely the style of the editor/company, and works for many writers.

However, the blog entitled 7 Little-Known Ways to Finding the Right Book Editor on Editage.com makes a great point; some types of editing require more communication between author and editor.

Substantive editing is useful for authors who need expert guidance on plot, characterization, and core concept, in addition to in-depth line editing for the technical aspects. This service helps authors make their material more cohesive and interesting for their target audience, without altering the author’s voice. The editor will provide comments about

• Plot and pacing (for fiction) and narrative coherence (for nonfiction)
• Core concept (for nonfiction)
• Characterization
• Dialogue
• Tonal shifts
• Title

Given the depth and scope of the editor’s involvement in a substantive edit, this service calls for greater collaboration between the author and editor, and might involve multiple rounds of editing until all the issues are satisfactorily addressed.”

This is precisely why FirstEditing.com recently added the Book Coaching option to their nonfiction clients. The manuscript will get a substantive edit, with feedback in the margin for improvement and impressions from a reader’s perspective, then a subsequent copy edit after the writer has accepted/rejected the changes and incorporated any of the suggestions given by the editor. This is not a constant barrage of communication, just one back and forth, allowing the writer to write and the editor to edit.

If you’re looking for a freelance editor on, say, Guru.com or Freelancer.com, they will usually note in their gig offer how many revisions are allowed per order (usually none or one). They may also note if a Skype or Zoom or phone call of some length is included.

In conclusion, the Nonfiction Authors Association notes: “In the end, a good editor will act as a co-creator. While you, as the writer, may have the expertise on the subject-matter, an editor is the expert in providing the knowledgeable critiques, suggestions, and directions required to make your book the best it can be.”

The post How to find the right nonfiction editor for you appeared first on Firstediting.com.

When seeking a professional editor, you need a partner for your manuscript. Many freelancers claim that they have editing skills. As you have so many options for hiring editing help online, beware of the red flags you may encounter.

Seeking an editor is like searching for a new mate. Set your boundaries and expectations first. Ask the right editor questions first.

Below are the red flags that your editor may not be is NOT right for you.

1. Beware the person you are considering if they have:

No knowledge or experience editing your subject matter
Do not hire an editor who is not knowledgeable in editing your subject matter. Your editor needs to be familiar with your type of writing style, your genre & subgenre, your content & topics, and your intended audience.

2. No experience editing

Don’t be anyone’s guinea pig. You have invested your time and energy into your writing. Give it the final love and attention it deserves.

3. No expertise regarding the stages of editing

Different editors provide unique skills during different stages of editing. Professional editors are specialists who can significantly smooth and improve your writing.

• Structural, Developmental, Substantive Editing
• Line Editing
• Copy Editing

4. No training or certification as an editor

You need an editor who can

1. Tell you what you need
2. Clarify what you want
3. Identify where you are in the editing process

Ensure your editor provides this information as it is vital to determine if they are the right person for you.

5. No samples of editing success

If a freelancer claims they are unable to provide examples of their work due to confidentiality and non-disclosure, this is a definite red flag. Any editor worth considering will gladly provide you with references, examples, or samples of their work. The easiest solution is to request a free editing sample of your writing.

Otherwise, buyer beware.

6. No standard operating procedure for editing and delivery

Editors provide professional services and prices based upon your

1. Level of editing required
2. Desired services
3. Standards of editing according to where you are in the editing process
Although the methods of communication and delivery may vary from editor to editor, there should be no difficulty in answering your questions or quickly describing what you can expect.

If your potential editor cannot provide clear communication and processes, this is a red flag.

7. No guarantee for editing services provided

What happens if they return a manuscript with mistakes? What do they promise? How do they back it?

These are important questions. Make sure that your editor has an excellent reputation for customer satisfaction. Find out what they will do to ensure they also satisfy you with their work.

8. No prices outlined with an explanation of their calculations

Pricing is very important. You should discuss this upfront.

9. No timelines for delivery of manuscripts

Every editor worth their fees knows how to calculate their fees and delivery times. If they can’t give you an estimated delivery time, this is a sure sign of their lack of experience.

10. No “bedside manner” for your needs as an author

Only work with an editor you trust. Find out how it “feels” to work them via their client testimonials, examples of work, and their personal editing sample of your writing. If you are uncertain, try another editor before you commit to investing extensive time, energy, and money.

What You should REQUIRE from Your Editor

Editing is an enormous investment. Thus, you have a right to high quality. When hiring a professional editor, request:

• Editing services plus a professional evaluation of your writing and presentation
• Identification of your manuscript’s key elements with confirmation that they are in the right location
  • Instructions on how to strengthen your writing
• Word count evaluations for each section to ensure balance
  • Appropriate for your genre & presentation
  • Correctly paced with support material
• Assessment of each chapter
  • Determine if each section is balanced, engaging, and appropriate
  • Objectively edited
• Professional Summary Letter outlining
  • What you do well
  • Explanations of what you need to change and why

Thus, beware of anyone who claims to be an editor who has

• No knowledge or experience editing your subject matter
• No experience editing
• No expertise regarding the stages of editing
• No training or certification as an editor
• No samples of editing success
• No standard operating procedure for editing and delivery
• No guarantee for editing services provided
• No established prices or standards
• No timelines for delivery of manuscripts
• No “bedside manner” for your needs as an author

Find out if we have the right editor for you by requesting a free sample edit today!

The post 10 Red Flags From Editors appeared first on Firstediting.com.

What do Book Editors do?

This is a crucial question to ask so you understand what you are actually looking for in this process. Editors assess your work by word, line, or page, picking up on inaccuracies in spelling, grammar, and punctuation. However, as most writers or their beta readers do a lot of this before submission to an editor, you may want an editor that goes well beyond the basics of syntax. The level of editing they perform for you may be stipulated by what service you have requested, so make sure you understand these from the get-go.

Proofreading and copy editing are services that look at typos and technical issues in your formatting and any repetitive text, missing words, and other basics. This level of editing can be very good at picking up the little details needed in your words and sentences, and provide consistency to your work. However, there are levels of editing that go beyond this, and look at the structure and development of your work. These big-picture elements look at how the plot, characters, and setting elements work together to present your ideas.

Line editing ensures your editor will take meticulous care in polishing your sentences, paragraphs, scenes, and chapters so they flow well. Developmental editing handles content editing and character development, and delves more into the overall structure of your work. In non-fiction work, we look at technical formatting, structure, and the cohesiveness of your overall argument.

Difference between fiction and non-fiction editors

It should come as no surprise that there is a difference between editing fiction and non-fiction. Fiction stories often have a plot, characterisation, an opening hook to entice readers, and elements like tension and conflict to carry the plot from beginning to end. A fiction editor therefore needs to be better in tune with the author’s distinctive style, tone, language and rhythm and have a good understanding of story writing elements and the story arc. In this way, they can assess character motivations and goals, that the story hits the right notes at the right time, and there is a cohesiveness and consistency to style and presentation. This is quite an art form in the editing process.

In non-fiction, these elements are not so important, but organisation, clarity, and sections that reflect the premise of the argument are. The editor of a non-fiction book needs to focus on the clear and logical presentation of the subject matter. The editor may need to have a better eye for referencing, quoting source material properly, and the format and structure the work requires. Some knowledge of the subject can be an advantage in non-fiction editing, but is not a pre-requisite.

A good editor in either category needs to understand the elements at work and perform their role accordingly. And one editor may well be versant in both fiction and non-fiction.

Must-haves of a fiction editor

One of the most important ingredients to look for in the recipe of elements you want in your editor is their experience. Ask them for a sample of their work, and how many years they’ve been an in-house editor for their company or in the capacity they are currently working. If they’ve been in the game a long time, they will have testimonials and references they can give you. They may even have other book titles they can show you, and it would be a bonus if any of these covered the genre of your work. While there is no definitive requirement that an editor has the same knowledge, experience, or understanding of your subject or genre as the writer, it helps if they’ve worked on similar material before. Some companies do offer specialist editors that have experience within particular fields.

Best qualities to look for in a fiction editor

One of the best services a fiction editor can provide is a sample of their editing on your work. Many provide this as a courtesy anyway, but don’t be afraid to ask. A sample performed on writing that you know well will show you just how much help they can provide you, although it is good to understand that a limited sample might not furnish the same level of feedback as you would get on your entire document. Samples, particularly in track changes, will also show you what they are looking at or for, the number of things they pick up, if they understand your writing style and the story or topic, and if you are a good fit together.

Don’t be afraid to seek samples from multiple editors before you decide on who to go with. Send them a small selection such as five or ten pages, and see what they come back with.

What to avoid

All writers are attached to their work and may find the editing process hard. But you also want an editor that is not afraid to point out the issues in it, and where it can be improved. Obviously, you don’t want an editor that completely disregards your feelings, but you do want them to be rigorous in their approach. Editing can be handled sensitively with suggestions for improvement rather than edicts about what you must do. Editing in tracked changes also gives you complete authority over your work to disagree with any changes they have made.

The best editors can be busy and asking them to fit you in or edit a very long piece of work in record time (even with a rush fee) probably isn’t the best approach for them, or you. Do your homework and make sure they have the time when you need them. This homework should also include the cost per word, hour, or project and determining if it fits your budget.

Benefits of hiring a specialized editor

An editor with experience in the same genre as your book is a real plus. If you’re writing a children’s story, an editor with experience in romance literature or crime probably isn’t the best fit. Similarly, if you’re submitting an academic thesis about engineering, you probably want someone that is familiar with scientific papers and the formatting and technical detail required. While they don’t have to be an exact fit, the closer they are, the better. So consider not only the genre of fiction but also if they are a fiction or non-fiction book editor and what narrative your work is.

The post What to Look for in a Fiction Editor? appeared first on Firstediting.com.

Honestly, choosing an editor is a lot like dating. You need to ask the right questions before you commit to this adventure. Be aware of the commitment you are making as an author. Be clear with your expectations and needs.

Ask questions. Get to know your editor. Understand the process of editing. Know how to get your needs met by speaking the same language and clearly asking for help. Find out how to get the best results from this partnership.

Prepare yourself and give your best. Create results that are mutually satisfying. Accept any limitations that may exist due to pre-existing conditions. (budget, experience, knowledge, etc.)

The more you prepare yourself for success the more likely you are to find the right match for your needs.

That is why we have Self-Editing School. Create a foundation of understanding. The better you can self-edit the better you can write. This proactive method is mutually beneficial for both you and your editor.

You also get a better return for your investment in professional editing services when you properly prepare. The more knowledgeable and familiar you are with the editing process, the better results you will achieve. Preparation also lets your editor dig deeper into your message and less into your typos.

1. What’s your professional editing experience?
An editor’s experience includes their professional (paid) editing history, writing, publishing, teaching, continued education credits, professional certifications, and on-the-job training.

2. What have you edited?
An editor works with different genres, authors, books, publishing methods (indies vs. traditional), and more. You need to match this experience with your book and goals.

Ask about their successfully published authors / past clients. Ask for references and testimonials if they are not proudly displaying this.

3. What are your editing qualifications?
As in every profession, there are various certifications, training, and qualifications available to the dedicated editor. Their commitment to continued education and growth results in expertise. Ask for a list of their certifications, advanced degrees, additional training, and professional affiliations.

4. Why should I trust you to edit my book?
You are investing a large amount of money into professional editing. Get an outline of your editor’s guarantees. This includes, but is not limited to, such concerns as their

1. Policy for errors
2. Corrections process or multiple revisions
3. Promises of publication
4. History of happy clients

5. What is your communication style?

Make sure you feel confident working with this person.
Ask yourself

1. Are you a “good match” for each other? How do you know?
2. Are your expectations clear? Has the editor confirmed them?
3. How do you communicate with them during the editing process & after?
4. Are you confident in their abilities? Have you received a sample?

6. What editing services do you recommend for my manuscript?
Editors give professional recommendations based upon your

• Editing Stage
• Level of Editing Required
• Desired Services

7. What do I get with professional editing services?

Get an outline of your editor’s deliverables. For example with a certified Story Coach, we would provide

1. Editing services
2. Summary Letter with Professional Critique
3. Embedded Notes
4. Outlined Track Changes for individual review & acceptance
5. Revisions Support & Tools
   1. Visuals such as story arc graph
   2. Word count & scene analysis
   3. Story map, elements, or other objective evaluation methods
   4. Software tools & format delivery
6. Coaching & Consultation Services

8. How much does it cost to work with you as my professional editor?

Pricing & Delivery are very important and should be discussed early on. Always confirm:

1. How much does editing cost?
2. What do I get from my editor?
3. When will my editing be complete?

9. What do you offer besides editing?
Different editors offer many supplementary services. Find out what they provide. BEWARE the all-in-one service as no one can be an expert in everything.
10. Can I see examples of your work or test your editing skills first?
Ask for a free editing sample.

Before you reach out to a professional editor, you can consider some introspective questions first. These are not necessary but they can definitely assist with preparing for professional editing.

Ask yourself:

• What is your goal for your book & how does editing support this?
  • Define your genre, sub-genre, and style of writing
  • Write your blurb which serves as your
    • Promise to your readers
    • Guideline for your editor
  • Know your audience –
    • What are their expectations from this genre?
    • What are their expectations from your blurb?
• What do you need from your editor?
  • Style guides, submission guidelines, agent requirements, etc.
  • Editing service and support services
• What do you want?
  • Different levels of editing
  • Different depths of service
  • DIY vs DFY
• What can you afford?
  • How important is your reputation
  • Editing is an investment

Be diligent when seeking help from a professional editor.

If you don’t know what you need or what to expect, just contact us for personal assistance.

The post 10 Questions to Ask a Potential Editor for Your Book appeared first on Firstediting.com.

Let’s review what an editor looks for when evaluating your scenes. This is the methodical method of how to edit the scenes of your book.

Professional editors review the overall story arc of your book. In order to succeed in this task, we also evaluate the structure and arc of every scene in your book.

We review the scene’s focus from your reader’s perspective to ensure it is clear and understood. It must be an essential building block in your plot to drive your story forward.

So let’s walk through editing your scenes as a certified Structural Editor would.

What is a scene?

A scene is a sequence with characters in a unique setting with goals, conflict, tension, actions, and reactions that connect with other scenes and drive the story forward. The scenes combine to create your plot. Each should be essential to the story arc.

Remove any “scene” or event that does not have a logical goal for the plot which interweaves into the overall story.

What are the two essential parts of a powerful scene?

There are two parts in each comprehensive scene. These sections are not equal in presentation length, but each is necessary to compose a strong scene arc.

Action

An action arc comprises an action/event involving characters in a unique setting, which creates conflict and tension

Sequel

A sequel arc encompasses tension as a reaction to the action (conflict events) and results in a new dilemma, requiring a decision by the character to continue pursuing their overall story goal

An action or sequel can be standalone scenes or a combined scene. However, both parts are essential to fulfill the structure of a powerful scene.

What is a scene arc?

A scene arc is like a story arc. It requires a beginning, middle, and an end to be complete. The hook is your beginning, the development of your scene is the middle, and the climax is your end.

Editors evaluate every scene’s three-part structure to determine that you have created a solid foundation for the scene and for your story’s plot.

The scene has two essential parts to its whole, which we will review in-depth below. The action arc elements and sequel arc elements combine to create a comprehensive scene arc.

How you develop each element of the scene arc is unique to your manuscript. However, professional structure editors will locate and evaluate each element of every scene to strengthen your story.

A complete scene arc includes:

1. Beginning / Hook
2. Middle / Development
3. End / Climax

There are various compositions and presentation methods in different manuscripts. However, we are reviewing the “standard” scene structure here for simplicity.

The final scene arc results from a combination of both the action scene arc and the sequel scene arc. The action scene arc provides the external and situational events of the scene, while the sequel scene arc gives the internal and emotional insights into each scene. Together, these arcs create a comprehensive and balanced scene arc.

Scene Arc Elements

The scene arc comprises the following elements:

1. Goal
2. Conflict
3. Disaster
4. Reaction
5. Dilemma
6. Decision

Goal, conflict, and disaster compose the action scene arc, while reaction, dilemma, and decision create the sequel arc.

What is an action scene arc and what does it include?

Action scene arc comprises the external and situational events within the scene. These are the external events which move the story forward within the plot line.

Goal

Your goal for each scene is short term when compared to the overall plot. The goal of the scene should align and apply to the point of view (POV) character’s goal. The POV character’s goal is a combination of both his external actions and internal desires. These must all tie into the long range plot goal.

The scene’s goal drives your story. You must establish the goal early in the scene for your readers.

Note that a scene’s goal can be independent or tied into an overarching goal accomplished over several scenes. It is most important that it applies to the plot.

However, if a scene’s goal does not tie into the plot goal, it is irrelevant. You can remove it. (Yes, we know this might be painful for you as an artist, but is important for your readers.)

When evaluating the goal element of each scene, professional editors ask:

• Is the goal relevant to the plot?
• Is it essential to the plot?
• Does it lead to a new scene which creates a new goal, conflict, and disaster?
• Does the scene goal match the POV character’s goal?

Conflict

The conflict of the scene prevents the character from achieving his goal in this scene. It is the obstacle which hinders the goal of the scene and character.

Conflict is essential to a scene. It drives the story forward and engages the reader.

No conflict = no scene = end of story

When evaluating the conflict element of each scene, professional editors ask:

• Does the conflict matter to the protagonist & his goal?
• Does it interfere or threaten the protagonist’s goal?
• Is the conflict essential within the scene’s goal?
• Does it relate to the overall plot?
• Does the conflict drive the story forward by providing new scenes?
• Is it organic and a result of the previous conflict/events?
• Is it logical?

Disaster

The disaster of a scene is an external result of the conflict which prevents the character from achieving his overall story goal. Thus, it applies to the plot.

The disaster element is essential because it connects the story to the next scene. The disaster needs to be important to the protagonist and your readers. Thus, it is high stakes. Ultimately, the disaster keeps the protagonist off-balance and drives the story forward.

The disaster must be organic to the events and a sensible result of the conflict.

When evaluating the disaster element of each scene, professional editors ask:

• Is the disaster engaging and important to the readers?
• Does it set up the next scene’s goals?
• Does the disaster drive the plot?
• Is it an organic and logical result of the conflict?
• Does the disaster connect appropriately to the scene’s goal?

Thus, the action scene arc consists of the goal, conflict, and disaster elements of a scene. These external events show us what is happening in a story.

But what is happening internally and emotionally with our protagonist? We discover those details within the sequel arc division of the scene.

What does a sequel arc encompass?

Sequel arc presents the internal balance to the external events of the action arc. It provides the elements of the POV character’s reaction, dilemma, and decision, which emotionally connect them to the readers.

The sequel arc allows readers to catch their breath from the action scenes. It is the essential essence of allowing your characters to react to the events. During this time, your readers get insight into the characters and connect. It is essential to reader engagement.

The sequel arc adds the essential second half of the scene and includes the ingredient of additional tension. It is the reaction to the action. It is a great way to weave in introspection.

Tension simmers internally within the characters under the scene’s surface, while conflict is the external actions we witness. The sequel arc allows strong character development by sharing the internal tension created from the action arc’s events.

The sequel arc elements of reaction, dilemma, and decision need to be focused and deliberate in presentation. It provides context and meaning to the action part of the scene.

The length and composition of the sequel arc is different for every scene. It can be contained within a few sentences for quick pacing or included over several chapters at a more slow pace.

Regardless, the sequel arc needs to be clear to your readers. You can write it outright or imply it in the details. Remember to always show, not tell, an interesting story.

Reaction

Reaction is your protagonist’s internal and emotional responses to the actions. This element gives your readers access to the character’s thoughts & feelings resulting from the disaster.

The reaction insight provides introspection, processing, and sharing with the reader from the character’s point of view. It allows your readers to connect and know the character’s personality better.

The reaction portion of the sequel arc acts as a counterweight to the events of the action arc. It also allows your readers to pause, breathe, and process the conflict.

When evaluating the reaction element of each scene, professional editors ask:

• Is the reaction related to the disaster?
• Is it appropriate and logical in response to the disaster?
• Does the reaction match the character’s personality?
• How have you portrayed the reaction? Is it sufficient & effective?
• Have you illustrated the reaction powerfully?
• Have you showed the reaction? (Show not tell)

Dilemma

Dilemma is the intellectual element of the sequel arc. The dilemma results directly from the disaster and causes further serious change for the story. It creates fresh problems, which the character must overcome.

The dilemma element sets up the next scene by asking a question. The character’s dilemma further heightens tension. Ultimately, it creates sympathy for your characters and engages your readers.

During the dilemma phase, your character reviews and analyzes the events and begins planning. The various options your character considers exposes their personality, which is important to your readers. They need to care and root for your protagonist.

“When you show your protagonist’s intellectual response and his thought pattern as he considers many (and rejects most) solutions, what you’re really doing is convincing readers your protagonist is a thinking human being and, more importantly, that your plot is based upon a pattern of logic instead of arbitrary events.” – K.M. Weiland

When evaluating the dilemma element of each scene, professional editors ask:

• Is the dilemma a direct result of the disaster?
• Is it clear to your readers?
• Why would your readers care?
• Is the dilemma portion of writing balanced with its significance?

Decision

Decision is your character’s answer to the dilemma question. It leads to action or inaction. Most often, it leads to action resulting from a new goal, which is the source of the next scene.

The element of decision is your protagonist’s strategy and behind-the-scenes planning that intrigues the reader. The decision stage of the sequel arc is the forward motion to keep the story going. Ultimately, it is your character’s long-term goal with a short-term decision which aligns with the plot.

When evaluating the decision element of each scene, professional editors ask:

• Is the decision a direct result of the dilemma?
• Does the decision create a strong and logical goal for the next scene?
• Does it drive the story forward with more potential events? Or does the decision simply solve the problem and end the story?
• Does it reveal important insight to the character?
• Is the decision element obvious (shown) or stated appropriately?

The decision creates a new goal bridges us to the next scene. Thus, you start once again.

Find out how an editor can help your book by getting a free editing sample and professional recommendation. Click here.

If you are still outlining or in your first round of self-editing, I highly recommend you read the posts for How to Structure Scenes in Your Story (Complete Series) on K.M. Weiland’s website HelpingWritersBecomeAuthors.com.

The post How to Edit the Scenes of Your Book appeared first on Firstediting.com.

What is scene by scene writing? Our friends at ProWritingAid[1] bring up a few good points on this topic, starting with determining what kind of fiction writer you are. Are you a pantser or a plotter? “People who prefer to write by the seat of their pants are pantsers. Some writers prefer the term ‘discovery writer,’since you discover the story as you write…If you’re a plotter, or what some people call a planner, you spend a lot of time planning your novel before you ever sit down to write.”

Other tools for writing scene by scene include building a scene chart, a timeline[2], and interestingly, writing your synopsis first. You’ll need a synopsis when marketing your book to various publishing agencies anyway, and creating one before you write your book will aid you in determining different scenes better than a straight outline will. The scene chart they recommend comes from Annie Neugebauer’s website, with a link to download the MS Word document[3].

Once you’ve written your scenes (an 80,000-word novel will have around 50 to 60 scenes)[4] and done your self-edit, you’re ready to send your manuscript to a professional editor. The first pass will be the highest level of editing, the structural edit, to make sure your novel is structurally sound, scene by scene.

What is a structural edit? Editors Canada offers this definition:“Structural editing is assessing and shaping material to improve its organization and content.” Sounds simple, right? However, they go on (and on) with what a structural edit really entails, listing 14 different responsibilities of the editor[5]. Here are the main points (and as we know, the final point, communication, is sometimes the most difficult).

• Assessment: Assess the overall organization and content of the material to determine its suitability for the intended audience, medium, market, and purpose.
• Organization: Reorganize material to achieve a coherent structure and sequence, a logical progression of ideas, and a narrative or expository flow and shape appropriate to the audience, medium, and purpose
• Content: Identify and either recommend or make appropriate deletions (e.g., to remove repetitive, irrelevant, or otherwise superfluous material) and additions (e.g., to fill gaps in content or strengthen transitions between sections)
• Communication: Communicate clearly and diplomatically with the author or project supervisor to confirm structure, request clarification of content, and propose or negotiate broad editorial changes.

What are Fictionary’s 38 story elements? As good writers know, “A great story is made up of a collection of great scenes structured in a compelling order. Fictionary shows you how to use the 38 Story Elements to create remarkable scenes, link them together, and finish a novel your readers will love.”[6] This is where artificial intelligence, combined with the trained human eye, can help. Fictionary.co has developed software for exactly this scene-by-scene structural editing. Included in this advanced editing process are 38 separate story elements to be noted, tracked, and improved upon to make you, the writer, the best storyteller you can be.

We won’t list them all here, but the main categories are character story elements, plot story elements, and setting (location) story elements. Your certified Story Coach editor will edit your novel scene by scene, indicating where each of the 38 story elements are strong, could use improvement, or are missing altogether. (Of course, not every scene needs to contain all 38 story elements, so please don’t panic.) Each scene is named (by the editor, if you haven’t named them already using the scene chart mentioned earlier) for ease of determining exactly where improvements can be made, saving you much time and effort; no more scanning your entire novel to find a specific line that needs tightening.

Two of the best features of Fictionary’s Story Coach editing are the report generated afterward, and the visual charts and graphs of your story, broken down scene by scene so you can see at a glance where your story is strong and where it can use tweaking.

Where can you find a certified Story Coach for structural editing of scenes? FirstEditing.com has partnered with Fictionary to train their fiction editors in StoryCoach Editing[7]. The training is extensive (some would say exhausting!), and these Fictionary-Certified editors are ready to help you improve your story structurally, scene by scene.

Not every novel is a candidate for this type of editing, however. To see if yours qualifies, contactFirstEditing and ask for an evaluation of your fiction novel to get started on your journey to becoming a successful published fiction author today.

1 https://prowritingaid.com/art/1136/novel-planning-with-a-scene-chart.aspx

2 https://prowritingaid.com/art/1064/ways-to-get-your-story-unstuck.aspx

3 https://annieneugebauer.com/the-organized-writer-2/novel-scenes-chart/

4 https://storygrid.com/how-many-scenes-novel/

5 https://www.editors.ca/publications/professional-editorial-standards/b-standards-structural-editing

6 https://fictionary.co/learn/fictionary-story-elements/

7 https://www.firstediting.com/editing-service/story-coach-editing-services/

The post How Editors Work to Strengthen Every Scene appeared first on Firstediting.com.

The number-one thing editors will say when they edit a romance novel is that the love between the two characters must be believable and there needs to be chemistry. But this is easier said than done.

A strong, seasoned writer will know how to build up the relationship, where to add in tension, flirting, develop the characters, etc. But many writers fail at just the basics: chemistry and believability.

Chemistry and believability mean that two characters have fallen in love and their lives have forever changed. To be dramatic, the readers have to believe that the two characters cannot live without each other.

Their chemistry—how they interact with each other, speak to each other, react, behave, etc.—has to be developed otherwise, it will fall flat.

A character’s thoughts, feelings, emotions, actions, and motivations have to be clearly conveyed in order for it to be believable. When I’m editing in any genre, I always look closely at a character and see where the character can be strengthened. This is especially important in a romance novel where so much of the story is driven by one thing: a love interest.

The characters should play off each other.

How can the author show the characters are head-over-heels in love? What do the characters do together, what do they talk about, how do they act around each other, and how does their behavior differ when they are around their friends, family?

The getting-to-know-each-other part of the relationship is the puppy-dog type of love (the flirting, the lingering stare, etc.). But believable chemistry will move past the puppy-dog phase in the story. This is something writers often miss. So many romance stories build up a romance, everything is perfect, and then something MAJOR happens (i.e., they find out a secret, or the character does something bad, or the character gets a job and has to move).

Believable romance is in the little details too. A more believable chemistry is seeing how characters react and deal with the little nuances and realistic situations. I always tell writers, “Don’t be afraid to make your characters annoy each other.”

Character Development | Backstory

People are complicated and have a wide range of emotions and layers. A romance novel will fall completely flat if the character(s) are not developed. I edit too many novels where the characters are not developed and neither is the backstory.

What happens in a character’s past affects the now (the present). This is especially important in a romance novel because it’s one of the key elements of the story: a romantic relationship.

Everyone has baggage! Has the character ever been in love? If so, what happened? What were previous relationships like? How is this new relationship different? What has the character learned from previous relationships? How has the character changed from a previous relationship or breakup?

A good romance will tackle a range of emotions. This is all about character development. Who cares if the characters are in love if the readers don’t care about them, relate to them, or understand them on a deeper level?

Make the characters interesting and engaging, as well as relatable and believable.

There also has to be enough scenes and character interaction for readers to believe that the two characters have gotten past the initial few dates and have finally opened themselves up to fall in love. Create suspense and tension. Maybe they don’t meet in the first chapter, for instance. But the characters will have to go through a transformation or change as a result of their love.

Stray from the Formula

Romance novels tend to follow a specific “formula.” The characters meet, they fall in love, there could be a love-triangle plot point, and then something major happens (the conflict) that results in the relationship being put into question—are the two characters going to make it, or are they going to go their separate ways?

While the editors are not responsible for writing the book (obviously), it’s pretty certain that a romance story will follow this trajectory. As the editor, I always like to look at how to change things up a bit—something unique about the characters and their love for one another that can stand out among all the other romance stories.

Creating strong, developed characters for any story is important, but I like to look for storylines and characters that stray a bit from the typical “formula.” Make the situations more complicated and realistic.

Avoid the typical high-powered businesswoman who lives in Manhattan and goes home to her small hometown and falls in love with the local fix-it guy, and then she needs to decide whether to go back to the big city or slum it in the country with the man of her dreams (and, of course, both characters are insanely gorgeous!). Switch it up a bit!

That doesn’t mean changing the story—it means complicating the characters and the situations that the author has written. It means developing characters on a deeper level.

In every romance novel, the characters are so good-looking! They are described like Greek gods and goddesses. They have the perfect hair, body, clothing, people turn their heads and can’t stop staring, etc. This is one reason Bridget Jones broke the mold—the protagonist was a frumpy, goofy character. This doesn’t mean the characters can’t be insanely gorgeous, but they can’t be perfect! Give them a pimple now and then!

Likeable Characters

This may seem like an obvious thing, but romance stories typically have likeable protagonist(s) and/or the two characters involved in the relationship. Whether the book is written in a first person or third person (single protagonist or multiple protagonists) a romance writer should aim for likeable characters.

I’ve edited many romance books where only the protagonist was likeable and the love interest was less than desirable, and this can be an issue! Especially if the characters wind up together at the end! Especially if there are sex scenes! Readers won’t want to slog through a novel where the protagonist finds her true love, and her partner is egotistical and insensitive. So not only is it important to develop the characters on a deeper level, but the characters should be likeable.

Romance novels have a tendency to be light in tone, but creating likeable characters shouldn’t mean cliché or stereotypical characters either (i.e., city gal and smalltown guy).

Intimate Scenes

There’s a reason why the Outlander and Twilight series are so successful. The authors have made the romance between the two characters passionate and believable. It transports the readers into the arms of Jaime or Edward, respectively. While Outlander is more steamy than Twilight, the romance is still there.

I can always tell a beginning writer from a more seasoned writer. They either (1) write intimate scenes like an instruction manual, or (2) write intimate scenes where it ventures into erotica. So there’s either too much telling and not enough showing, or way too much showing!

Romance, chemistry, and believability don’t necessarily mean graphic or sexual. It can be more sensual, which is about the senses, the getting-swept-off-your-feet types of feelings. The goosebumps, racing hearts, etc.

But if the scene is going to be intimate, it has to be done right to avoid the readers rolling their eyes and tossing the book away. Be descriptive, but avoid cliches or being too graphic (romance vs. erotica). The editor and writer should know the audience to know if certain “buzz words” should be avoided (i.e., graphic words, R-rated descriptions, etc.).

When writing an intimate scene, use all five senses. Avoid repetitive descriptions. If there is more than one sex scene, they have to differ! Switch it up!

Happily Ever After?

I say no! See answers above

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