4 signs you have finished editing your manuscript

Years ago, I was at a writing group when a newer writer asked a loaded question:

"When do you know you have finished editing a manuscript?"

Without hesitation, one of my writing buddies, JC Harroway, blurted out, "When someone takes it away from you." Of course, the room burst out laughing, but JC was serious. She is a dreadful tinkerer, never happy with what she has written and constantly obsessing over it. But she is a writer with publication deadlines, and when those deadlines arrive, she has no choice but to hand over that manuscript to the editor or it won't get published.

But when you look at the original question with seriousness, there are multiple aspects to consider. Not only do you have those who constantly obsess over every little detail, but the editing question goes the other way, too. You also have those who think they have finished editing but in reality still have work to do to ensure that the story they envision is what is on the page.

In today's post, I want to discuss some of the benchmark tests you can use to determine if you have finished editing a manuscript.

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Book Doctor

8 Common Structural Issues Within Fiction

I have edited many manuscripts over the years, and there are common flaws that I see come across my desk. I see some issues so often that when I see them, I struggle to unsee them. But all issues that I see are fixable. Exactly how they are fixed will depend on what the writer wants to achieve with their story.

In today's post, I want to discuss some of the common structural issues that I see, providing insights into why they happen. And it's not just a matter of understanding the beats of a story—though that is a huge part of it. It's really about the rise and fall of action and understanding reader expectations.

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3 common “tell” constructions and how to turn them into “show”

So many writers are fond of reciting the mantra "show, don't tell" like it's some holy passage that will lead writers to the land of glory. New writers hear this being said and are always left wondering what it really means.

When I first started writing fiction, nearly fifteen years ago now, I too was confused beyond belief.

"Describe the action. Describe how the character is reacting." Wasn't that what I was doing?

It actually took a fellow writer who writes fantasy to explain it to me—properly.

Imagine your book being turned into a movie or television series (the ultimate dream of most fantasy writers). A scriptwriter is going to take your book and fashion it into a script where the only way to get an insight into a character is through their actions. How true that scriptwriter remains to your book will be related to how much show you give them to work with.

And trust me when I say that seeing your words of descriptions transformed into the visual format is an incredibly satisfying feeling. (I've had commissioned artwork done based on lines of my manuscripts.)

I have written about the concepts of show vs tell before in Show the story. Tell the ride through the countryside.  and in Is First-Person Really More Intimate?

Today, I want to take this from a different perspective, explaining how to identify a tell statement and how you might transform it into one of show.

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Arguments

5 Key Tips to Writing a Stellar Fight Scene (Guest Blog)

Writing takes a community, sharing ideas and supporting one another. So, when we get approached with an article that shares hard-earned knowledge, we couldn't be happier to pass that information.

Today's post is written by A.E. Williams, a fellow editor and writer.

5 Key Tips to Writing a Stellar Fight Scene

Without a great fight scene for your action or fantasy or sci-fi novel, does it really fit the mold? The great fight scenes of old have transformed good books into great books: Harry Potter vs. Voldemort (Harry Potter and The Goblet of Fire), Paul Atreides vs. Jamis (Dune), etc. There are a lot of great battles to name from all sorts of books from a plethora of genres. But why are they so important?

Great battles can move stories forward, reveal character, and sometimes provide the reader with necessary exposition. Writing fight scenes requires a certain finesse and intentionality. Therefore, think of these five key tips when writing your fights.

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Promises to the Reader in the Opening Pages

In the beginning sections of a story, the first pages or chapters, the writer gives a promise to the reader about the nature of the story that they are about to read. There will be a hint of the genre, the pacing of the story, what the story is about, and the way the story will be told (the narrative construction). In fact, the reader should be fully aware of the nature of the story they are reading by the time they hit the 25% mark (or thereabouts)—ideally earlier. This doesn't mean that they should know 100% what the twists and turns will be, but they should know what the main story is and what sort of experience to expect.

If your story is going to be a high-octane thriller, then there needs to be action in those early scenes. If you are writing a sweet contemporary romance, then we should have met the main characters in this romantic coupling and already be able to see those sparks between the characters—even if they want to kill each other in the beginning. And if your story is going to contain religious or political overtones, then those overtones need to be present early too.

Today, I want to talk about the promises that we make to the reader with the opening pages of our books. It's the promise of the premise.

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5 Tips for Self-Editing (by Kristin Noland)

Writing takes a community, sharing ideas and supporting one another. So, when we get approached with an article that shares hard-earned knowledge, we couldn't be happier to pass that information.

Today's post is written by Kristin Noland, a fellow editor with her own take on things. Kristin is a developmental and line editor, specializing in speculative fiction, specifically fantasy, paranormal romance, dystopian, and apocalyptic fiction.

So, take it away, Kristin, and let's share some wisdom!

5 Tips for Self-Editing (Guest Blog)

Before we get into how, let’s cover the why you should self-edit.

Competition

If you are going the self-publishing route, your novel will be competing with traditionally published ones that have been through multiple drafts and edits.

If you are planning on using traditional publishing routes, your work will be competing with submissions which have gone through multiple rounds of editing.

Your Readers

You want readers to get pulled into and enjoy the world you have created. To do that, you need to make sure you have a well-written, entertaining, and engaging novel that hits your readers' expectations.

You Become a Better Author

By self-editing, your writing skills will improve.

With the why explained, let’s get into the 5 steps of self-editing.

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Your Roles in Your Writing Business

No matter how you look at it, if you are heading down the road towards publication, then you are running a writing business. Most of us don't start out thinking of it that way. We just want to write. But with publication comes money, taxes, marketing, and sometimes hiring others.

I have written on this topic before, highlighting how this whole running-a-business thing tends to just creep up on us. But for today's post, instead of focusing on how we are all little business owners, I want to delve into the different hats that we all need to wear.

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Story Structure Plotting Guide

When working through the story structure for a story, there are certain beat points that will help progress the story from start to finish. This guide helps you identify the core beat points for your story.

Writing relies on a reader’s knowledge

If you read through various blogs about writing, there is a common theme: Don't treat your readers like they're idiots. This is 100% true, because your readers will have experiences and knowledge that they bring with them, interpreting your stories with that eye. But are you taking full advantage of that preexisting knowledge?

The acclaimed science fiction writer Ray Bradbury wrote many novels and short stories that were printed in the 1950s and 1960s. His readers had survived World War II, bringing with them the knowledge and experiences they had from during the war, including the colloquial terms. Readers of today can still enjoy his stories, but there will be elements we will miss because the subtext is meaningless without the World War II experience.

Today's readers of 2001: A Space Odyssey laugh at how far off-base the predictions regarding space travel and artificial intelligence were. But it was written in 1968, one year before Neil Armstrong and Buzz Aldrin landed on the moon. Had the space program continued at the rate it was back in the late 1960s, not stopping at the moon, then we would likely already have a colony on Mars today, changing some of the meaning of that book and movie.

While we are hopefully crafting our stories in such a way that they are timeless, there will always be a partial reliance on preexisting knowledge to understand some subtext. It's time to look at how much hidden subtext is buried within your own writing based on the experiences and preexisting knowledge of your current readers.

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“Am I wasting my time writing?” the client asked.

Recently, a prospective client reached out to me regarding their manuscript that they were still writing; they were approximately a quarter of the way through the first draft. They were seeking quotes for editing (which is hard to give without having a full manuscript to consider), but more specifically, they wanted to know if I thought their story would be good enough to get published. (They actually asked this in their initial contact email.)

Let's ignore the fact that the story wasn't written yet, because any story that isn't written can't be published. I knew what the writer was asking. They wanted to know if I thought their writing style was good enough to be published.

That particular question is incredibly difficult to answer, because there are so many factors involved—and many of those factors are subjective.

So, I evaded the specific question (yes, evaded), and carried on like I do with any other prospective client under normal circumstances. I gave my thoughts about what I saw in the writing sample and proposed a path forward.

For this writer, I suggested that they just write. I would be more than happy to work with them on any story that they wrote (I liked their natural writing voice), but unless they wanted mentoring or coaching, there wasn't much I could do to help them until they had a finished manuscript. I suggested they finish their manuscript, get some feedback from other writers and edit their story to the best of their ability, then come back to me for a manuscript assessment. It was the most cost effective option for them.

But they really wanted the answer to their question, and their persistent email trail would not let it rest. "Do I have enough to make the grade and get this [story] published or am I wasting my time?"

As a writer myself, I understand the motivation behind such a question. We spend so much time pouring our heart and soul into our writing, and we want to know if we have a shot at breaking into this business with the manuscript that we're working on.

But for the first time, I had to push back and challenge a prospective client about their motivations for writing.

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