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.

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.

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.

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

Some time ago, 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.

Editing software can never replace an editor

Editing software will never replace the trained eye of an editor.

I'm an editor, so of course I'm going to say that. But I'm not saying it because I want to keep my job. Sure, there is a desire to always have money coming in, but it's more than that. I make this statement because I honestly believe it—as a writer.

When talking about editing software, I'm talking about the different apps like Grammarly, ProWritingAid, Hemingway, AutoCrit, and one I recently discovered, Fictionary.

I will be the first to admit that these programs have their uses. For a writer who is floundering in the dark, they might add a little direction. But for the writer who really doesn't know their craft, these programs can do more harm than good.

For any writer wanting to learn their craft and take their writing to the next level, nothing will replace the eye of another human being.

It's time to talk about all those automated programs that are floating around and point out the flaws—and why they can't replace a human editor.

The Camera of Point of View

It's not surprising that a conversation about writing eventually turns to a conversation about point-of-view (POV). Exactly how the narrative shapes the perspective of the story will have a direct impact on the reader's experience.

The POV is not just about understanding which character will act as the narrator. Yes, that's part of it, but the POV also has a depth of perception that defines how much the reader knows about what is going on.

Classifying the POV isn't as straightforward as saying that a passage uses first, second, or third person. It's much more than that.

Today, let's look at an overview of the different narrative POVs that you might find within fiction, include a few examples, and possibly provide some insights into what effect the different POVs might have.

The difference between romance and women’s fiction (Guest Blog from Carron Stevenson)

Writing using Dragon Dictation (Guest Blog)

Writing using Dragon Dictation

by Ann Bell Feinstein

A few months ago, I decided to invest in dictation software. A brief search led me, of course, to Dragon Dictation. After agonizing over the cost of the purchase, I finally added Dragon to my list of writing tools.

Whether it’s due to my accent or style of speaking, Dragon worked for me right out of the box. I did have a few issues that with audio settings; however, that was mostly due to the complicated audio set up I have on my computer.

I decided to share with you some things I’ve learned about using Dragon. And yes, I’m actually using Dragon to dictate this blog post.

The difference between a critique partner and a beta reader

Getting another set of eyes on that manuscript is vital. Sometimes, we think we wrote something in a certain way, but for whatever reason, what we thought we put on the page isn't what we actually put on the page. Sometimes, we get too close to our stories that we can't see the forest for the trees. Without having that external input, vital issues easily slip through the system.

It can be a costly venture to employ a developmental editor, something that can be beyond the budgets of many writers. But a developmental editor is NOT the only way you can get that vital feedback.

Every writer I know, myself included, uses critique partners and beta readers as part of their editorial process. However, there seems to be some confusion about what these two types of readers do.

It's time to delve into the nitty-gritty as to what makes a critique partner different from a beta reader.