You don’t have to use an editor’s proposed solution.

The job of a developmental editor is to highlight areas within a manuscript that are problematic and provide possible solutions on how to fix those problems. However, it's the writer's job to fix those identified problems in a way that works for the story and holds true to the writer's vision for that story.

That doesn't mean that the writer is supposed to just bow down and do exactly what the editor tells them to do. The editor could be wrong. But it's up to the writer to make that choice.

In today's post, I want to talk about my own experiences of working with editors on my own manuscripts and how I, as a writer, had to make the choice to tell my editor "no" to his solution and do it my own way.

5 ways to drive your editor batty

Every editor has a few pet peeves, things that irritate them when they see them. But we editors suffer in silence, correcting those issues and moving on to the next page of the manuscript. But there are editors like me who happily turn those pet peeves into blog posts, showing the world how irritating they can be.

Today's post dives into some of the things that writers do that can drive an editor to the coo-coo train.

(Now, watch, some of my writing buddies will turn this into a challenge to see if they can work all of these things into their next writing piece that they share with me.)

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.

Goal Setting with a Theme

When setting goals, we are told to use SMART goals: Specific, Measurable, Attainable, Realistic, and Timely. We are encouraged to define our goals with clearly defined constraints and requirements to achieve the goals (specific), using something that we can measure our progress against (measurable). While it's important to dream big, we should never set ourselves up to fail by shooting for the stars from word go when there are a lot of little steps that we need to take along the way (attainable and realistic), and we need to put time limits on those goals (timely).

While I strongly believe in the ethos behind using SMART goals, it's the R in SMART that I believe is a little troublesome.

Commonly, I'll see R as Realistic, but I think Relevant is a better word to use. We might set a goal based on a certain task, but does that task have a purpose that is in service to our long-term hopes and dreams? For example, building that active Twitter following probably won't be of any help to the writer whose target audience is filled with young readers.

Today, I want to talk about shifting our SMART goals into something that has a stronger relevance to not only our hopes and dreams, but with our subconscious motivations too.

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.

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.

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

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.

Building an Email List as a Pre-published Writer

If you are new to the publishing industry, just getting your feet wet in this game, you will have likely encountered an insane number of posts and advice tidbits on how an email list is incredibly important to include in your writer's platform. Email is much more reliable than social media in getting your messages in front of your fans. But even if you're not new to the industry, the advice on building an email list can totally do your head in.

Some advice is contradictory. Very little advice gives you solid information about what you should do or how to even start. And for those who are working on their first publications, the idea is often too overwhelming. In fact, most pre-published writers put building an email list into the too-hard basket, saying that they'll do it later—except that later never comes.

Today, I want to explore the insecurity that the debut writer faces when building an email list, and I want to tell you about a venture that I'm taking on to put some science behind some valid tactics.

So… Google has tagged me as SPAM

Your book is in Barnes & Noble, and you’re complaining?

It was a random post that came across my feeds about how the science fiction and fantasy author Fonda Lee was complaining that she was competing against dead authors. I will grant you that it was an old post, dating back to 2019, but it was one that struck up a bit of negative emotions in me.

In her local Barnes & Noble bookstore, she had discovered that J. R. R. Tolkien and Robert Jordan were taking up roughly four shelves of space. She went on to complain about how there was only one copy of one of her own book on the shelves.

While I understand what it is she's complaining about, what she's trying to highlight to the world at large, my initial reaction was: "Get over it!" As I read through the article, my reaction started to include a level of irritation aimed at Fonda Lee and other writers like her who are complaining about not seeing their books in brick-and-mortar bookstores.