Editing

  • 5 ways to improve your manuscript

    Good news! These tips don’t involve any writing.

    Feeling a bit of writer’s block? Don’t worry, there are lots of ways to improve your manuscript without having to labour over sentences and story arc.

    Here are five ways to give your work-in-progress a lift, without lifting your word count.

    1. Brush up formatting

    Go through your manuscript and make sure each chapter is set on a new page (use a page break instead of hitting that return button), chapters are numbered in order, and you’ve used an easy-to-read font like Times New Roman 12 pt, with double or 1.5 line spacing.

    This will instantly improve your manuscript by giving it a more consistent and professional appearance, and save you time later when you’re getting it ready to submit to publishers or agents.

    2. Check regional spelling

    Did you know there are lots of variations of English? Depending on your target audience, you can choose the one your readers will be most familiar with. If you’re publishing in Australia, use Australian English. This means you’ll be following the Macquarie Dictionary for spelling variations. If you’re aiming for the US market, go with US English – the Merriam-Webster is a great resource (and it’s free!). For British readers, use UK English and the Oxford Dictionary.

    Choosing a regional English language helps you to maintain consistency across your manuscript. It ensures you catch words that are spelled differently in different countries – like curb and kerb, cosy and cozy – and it will guide you on regional terms such as trash can or garbage bin, sidewalk or pavement, lollies or candy, cell phone or mobile phone – the list goes on.

    3. Look at consistency

    I can’t emphasise enough how important consistency is in making a finished manuscript look professional! As the author, you get to make a lot of decisions about the words you want to use and your preferred spelling variations to ensure consistency. Run searches for words that can be spelled differently, such as OK vs okay, and choose one to use throughout. You should also check whether you’ve used punctuation such as quote marks (single or double) and dashes (en or em) consistently throughout.

    Note: in Australia, we tend to use single quote marks with nested doubles, eg: ’Hey, did you hear that song, “Espresso” by Sabrina Carpenter?’ The US tends to reverse this: double quotes with nested singles, eg: “No, I much prefer Dua Lipa‘s new song, ’Illusion’.

    Consistency affects loads of elements: You can also make a note of how you’ll use numbers (as a basic starting point, we often see numbers one to ninety-nine spelled out and 100+ as numerals in books), show time (words or figures), address capitalisation in headings, punctuate abbreviations and more.

    And of course, it affects aspects such as character features and setting details as well. Taking note of whether your main character has blue eyes and always wears rose-scented perfume will ensure you don’t confuse readers by mixing up those foundational details later in the story.

    4. Review character names

    Do any of your characters have similar sounding names? If you have two characters with names that look and sound alike – Dave and Dan or Lisa and Liz, for instance – it’s a good idea to change one of them, to ensure readers don’t get confused about who’s doing what. This applies to minor characters too!

    Even if you don’t think your characters’ names are similar, they can appear that way on the page to a reader who’s skimming over a paragraph. So even sharing the same initial can be enough to warrant changing a character name.

    While you’re there, keep an eye out for characters’ names that have changed during the course of the novel. This happens more often than you might think!

    5. Weed out repetition

    Do you already know which words you have a tendency to use in every second sentence? If so, do a search and see how many instances you can remove to ensure they don’t become repetitive. This applies to elements such as speech tags and action beats, too. You might find you’re often making your characters fiddle with their hair or exclaim loudly!

    If you haven’t yet twigged to your crutch words, start by searching for adverbs: really, very, finally, actually and completely are common, and most of the time you don’t need them. Take a look and see how many you can weed out! It’ll make your writing so much stronger.

    Don’t feel bad that you’ve developed a writing crutch – it’s natural to reach for the same words over and over, especially when working on a full-length novel. Looking out for them so you can change it up is all part of the editing process – and it’s a powerful way to improve your manuscript.

    Want some help maintaining consistency in your work? Reach out about line and copyediting. I’ll look out for all these aspects and more, and will record all decisions in a style sheet so you can keep track of your preferences throughout the publishing process.

  • What is an author-sensitive editorial approach?

    A note on my editorial values.

    Recently I was speaking with a potential client who expressed their fears around sharing their work with other people. They had a fiction manuscript that only a few trusted confidants had seen, and now they were gearing up to show it to a professional – but they were nervous. What if an editor told them it was a total mess and they needed to start again? Or worse, to give up writing altogether?

    I understood their concerns completely, and I reassured them that their worst-case scenario was very unlikely to come true – with me as their editor, at least. The conversation got me thinking about my editorial values and why I’m so passionate about identifying as an author-sensitive editor.

    I can’t take credit for this terminology – I first heard it when I was learning about structural editing from the wonderful fiction editor Nicola O’Shea. But the concept resonated deeply with me and I knew instantly that this would inform my approach as I set up my editorial business.

    What is it?

    An author-sensitive approach means that I consider the author’s feelings and experience with every edit I make. 

    It’s not about pandering or going soft on an author who can’t hack constructive criticism. Rather, it’s about remembering, always, that being invited to share feedback on someone’s work – especially when it’s a manuscript that’s taken many weeks, months or years to write – is a privilege. 

    Opening yourself up to feedback is a big and scary step, but an essential one. And it deserves to be treated with care and respect. 

    My experience

    I know exactly how intimidating it can feel to share your hard work with others because I’ve been there.

    As a journalist, I’ve had many people critique my work. Not all of their feedback could be described as sensitive! 

    In a busy newsroom, editors and subeditors will slash your copy with a red pen or tell you straight up that your work isn’t good enough. There’s very little time to be gentle when a newspaper needs to go to print. I entered this world as a fresh-faced and eager but very thin-skinned 19-year-old cadet journalist, and let me tell you, it was a steep learning curve. 

    Later, working in magazines, I learned that even though you might have a great idea for a story, if you can’t illustrate it, it’s dead in the water. That your voice is never more important than the magazine’s tone and style. And if you don’t get the words right the first time, you might not get another chance to rework your draft. Instead, the subeditor will do that for you. Because: deadlines.

    I also learned that listening to feedback, whatever the delivery style, is the fastest way to develop as a writer.

    All this to say, I completely understand what authors go through in sharing their work with editors and I have enormous respect for anyone willing to be vulnerable enough to do so, knowing that their story will be stronger for it. But if I can make that process an enjoyable one for authors, I absolutely will

    My experiences as a young journalist might have helped me toughen up and get used to receiving feedback, but honestly, I don’t think that I’m better for the harsher critiques. It was the mentors who took the time and care to guide me gently towards better writing who I learned the most from. And as an editor myself, I’ve seen over and over again how a respectful, collaborative and sensitive approach can make an author feel excited and inspired to get stuck into their next draft. 

    To put it simply, I just don’t believe that tough love or shaming are the ingredients that creativity needs to flourish. 

    My editorial values

    So, what does an author-sensitive approach look like? For me, these four values guide my work, whether it’s a structural edit or a line and copy-edit. 

    Respect for craft: Writing a novel is a huge undertaking. I have enormous respect for anyone who has been able to sustain their inspiration for the marathon that a fiction manuscript demands, and for the craft of translating their ideas into a story. This level of dedication and skill deserves to be celebrated.

    Positive feedback: I always highlight what an author has done well, whether it’s a beautiful turn of phrase, excellent dialogue, fine-tuned pacing or deep characterisation. I see your efforts and I applaud them.

    Gentle suggestions: The author is always in control of their story, so I frame my feedback as suggestions, not demands. If it doesn’t resonate with you, no problem. Often, my suggestions will act as a springboard to your own solutions. The idea is to inspire your creativity, not stifle it.

    Empowerment and encouragement: If you’re waiting for me to give you a verdict on whether you can write or not, or whether you should give up writing and go back to your day job, forget it. I don’t do absolutes and I don’t offer judgements on your inherent talent (I’m all about a growth mindset here!). What I will do is highlight your strengths and show you what areas you need to work on, because I believe good writing is something that people can and do learn. I’ll encourage you to keep going and I’ll empower you to work on the next steps yourself, because this is your story. As your editor, I’m your cheerleader!

    Is an author-sensitive approach for everyone? 

    For some people, my approach might feel too soft and gentle – they just want the feedback, and they don’t need the frills! I get that too, and that’s why I really recommend having a chat before booking a service with any editor, so you can see if you gel. Editing is an investment, so you want to make sure you feel confident and comfortable with who you’re working with. 

    One other thing I’ll mention: as part of my author sensitive approach, I want to deliver my edits in an accessible way. So if you’d prefer your structural editorial report delivered as an audio file rather than written material, for instance, I can do that. I can also change the colour of my mark-up in Word if there’s a colour combo that’s better for you visually. I’m open to feedback here, so whatever you need, just ask and I’ll do my best to make it happen.

    If you like the sound of my author-sensitive approach, I’d love to chat with you about your fiction manuscript. To get the ball rolling, drop me a line here.

  • Introducing the vocative comma

    This tiny piece of punctuation saves lives.

    One of the best things about punctuation is that when it’s used correctly it’s invisible in plain sight. It’s like driving a road you know so well that you get home without recalling the journey.

    But when it’s misused? Those misplaced commas, semicolons and dashes can be jarring!

    The vocative comma, however, is often completely invisible. That is, writers tend to leave it out of their sentences altogether. This can have disastrous implications for your characters!

    Allow me to explain. 

    What is a vocative expression? 

    Honey, sweetheart, darling, love – your pet names for your loved ones can be a vocative; so too their actual names. Any word you use to address someone directly is a vocative (also known as a vocative expression), whether it’s kind, disrespectful or neutral. Mate, sir, madam, prime minister … the list is endless! It’s how you use it that matters.

    For instance, in the sentence, “Hey, you!”, you is the vocative expression because that’s the word used as a direct address.

    Although you might not hear it in your speech, a comma is needed with a vocative expression in writing. In fact, it’s an incredibly powerful piece of punctuation.

    Consider the difference between these sentences: 

    “Shoot Pete,” the policeman cried. 

    “Shoot, Pete,” the policeman cried. 

    In the first example, without the vocative comma, Pete’s life is in grave danger! In the second, a vocative comma saves his life, showing us that the policeman is, in fact, directing Pete to shoot someone or something. 

    Similarly, the below sentence can take your story in a wild direction without a vocative comma: 

    “Eat children!” the woman urged. 

    Unless your story is exploring cannibalism, you’re going to need a comma with that: 

    “Eat, children!” the woman urged. 

    The comma makes it clear that the woman wants to feed the children, not feed on them.

    At its simplest, the vocative comma offers instant clarity. For example:

    “I don’t know Alison,” said Judy.

    has a completely different meaning to:

    “I don’t know, Alison,” said Judy.

    How to use the vocative comma

    Where you place the vocative comma depends on where the vocative expression lands in the sentence. 

    If the vocative expression starts the sentence, you need a comma after it (the vocative and its comma are in bold): 

    Kate, bring me that file,” Alice ordered. 

    Simone, is that your new bike?” Fred asked.

    If the vocative expression arrives at the end of the sentence, use the comma before the vocative. 

    “Give me my bag, you thief,” Ann said.

    “Where did you get that cool shirt, bro?” James asked.

    If the vocative expression is placed in the middle of the sentence, it needs commas before and after it. 

    “Well, Pete, you shouldn’t have fired that gun,” the policeman said.

    “Hello, darling, would you like a cup of tea?” Jenni offered.

    When does a vocative expression not need a comma?

    You don’t need a comma when the vocative expression is standing alone. Instead, you need a full stop, an exclamation mark, or a question mark. Here are some examples. 

    Pete! The policeman told you to shoot!” cried Mark. 

    Darling? Are you there?” Jenni called. 

    You thief. Bring me that bag,” Anna snapped.

    Embracing the vocative comma

    It can be easy to miss this one when you’re in the flow of writing, and in many cases most people will understand what you mean when you fail to add a vocative comma. It’s not actually life or death!

    But, using the vocative comma is a good habit to get into. Firstly, using punctuation correctly makes for clearer sentences and a seamless experience for your reader, allowing them to fully immerse in your world. And secondly, if you’re working with an editor, getting these little details right will save them time and you money.

    So, keep the vocative comma in mind when you’re polishing your manuscript – and see if you save any lives while you’re at it.

  • 4 signs you’re ready for a line and copyedit

    A simple explainer to help you work out if a line and copyedit is what your novel needs now.

    So, you’ve written a novel. Now what? 

    You might be thinking about starting the editing process, and perhaps you’re keen to work with a professional editor. That’s an excellent decision (wink!) but before you go ahead and book in your manuscript, it’s important to check if you’re ready for that kind of editing. 

    What is a line and copyedit? 

    When people think of editing, the line and copyedit is probably closest to what they imagine.

    A line and copyedit service involves a professional editor going through your work one sentence at a time. They’ll focus on grammar, punctuation and spelling, yes, but they’ll also finetune your sentences for flow, make adjustments to heighten tension or suggest changes to enhance character. They’ll ensure your book adheres to a consistent style and they’ll track details such as characters’ appearance or movements so that your scenes make sense. No coffee cups that magically morph into glasses of water; no Matthews turning into Michaels halfway through.

    It’s labour-intensive, detailed work that can take your book from good to great. But if you’re just getting started on redrafting and editing your novel, I’ll be honest: it’s unlikely you’re ready for this service. Going too early on a line and copyedit is like plastering over cracks in your home instead of spending the time getting the foundations right.

    Here are four signs that I look for that tell me you’re ready for this detailed form of editing.

    1 Your manuscript is structurally sound

    If you’ve already taken steps to ensure your manuscript is structurally sound – whether that’s working with an editor on a full structural edit or manuscript assessment, engaging professional beta readers or participating in an editing course like this one – that’s a great sign. 

    After taking in this feedback, you will have done significant work on your novel to make sure that the character arcs are strong and complete, the pace, POV and story structure are working for you and there are no glaring plot holes. You should be feeling confident about your overall narrative.

    A line and copyeditor will address small plot holes such as timeline hiccups or minor instances of head hopping, but they’re not able to resolve your big-picture issues at this stage. That’s because those overarching elements like plot, theme, character journeys, setting and POV can affect so many different threads of your book and issues with these will likely require significant rewriting. 

    2 You’re ready to embrace feedback

    In a line and copyedit, your editor will suggest changes to sharpen and elevate your writing. It’s not just about spotting typos! 

    Are you open to this kind of feedback? As an editor I take great care to ensure my feedback is sensitive and considerate, but if you’re not expecting this level of engagement with your work, it might come as a shock. Perhaps you’re too close to it – consider putting your manuscript aside for a while so you can get some distance and come back to it with a fresh perspective.

    One way you might be able to check if you’re ready to embrace this kind of feedback is to book in for a sample edit with your chosen editor. This will show you the kinds of issues your editor is likely to pick up and their style in relaying it to you, so you know what to expect. You might even find yourself looking forward to the process!

    3 You’ve done as much as you can 

    Think of this one as cleaning up for the cleaner. You can save yourself some coin if you do your own polishing on your manuscript before you send it out for a line and copyedit. 

    This means spending time on self-editing – reading over dialogue and sharpening up those action beats and speech tags, looking out for filter words or common phrases you use over and over, cutting back long descriptive passages that don’t move the story forward, and as obvious as it may sound, doing a basic spellcheck! Try doing two to three passes over your manuscript, focusing on tightening it up.

    Ideally, you’ll also format your file with double line spacing, indented paragraphs and page breaks for new chapters. 

    4 You’re going around in circles

    Constantly googling grammar questions and wondering why the answers are clear as mud?

    If you feel like you’re going around in circles and not getting anywhere, or making minor changes just for the sake of it, that’s a key sign you’re ready to hand your book baby over to a professional. You don’t have to do this writing thing on your own!

    A line and copyedit can be your saving grace, offering clear, sensible changes and suggestions that will elevate your story. Even better, while your manuscript is out for editing, you open up mental space for your next great book idea. 

    It sounds like a lot of work…

    I hear you – why put in all this effort when it’s going to be edited anyway? Well, the more work you do beforehand, the better shape it will be in for your editor, which equals a less expensive quote! 

    It also means that when your edited manuscript returns to you, it won’t be so littered with red mark-up that you immediately freak out. Instead, you’ll be able to concentrate on those helpful suggestions that enhance your writing and make it shine, rather than getting bogged down in the small stuff. 

    Plus, the more you polish, the more you’ll learn about writing craft, making you a better, more confident writer.

    Reckon you tick these boxes? Check out my line and copyediting services or contact me for a sample edit.

  • 5 gifts to give your WIP this festive season

     

    Slow down, chill out and experiment with your writing practice.

    Happy Holidays! It’s that magical time of year where we get to sit down, relax, stuff ourselves with treats and – if you’re a fiction writer – spend some quality time with your manuscript. 

    While showing up and writing is always a good idea, you might be in the mood to experiment. If you want to tap into that spirit of creativity that seems to hover nearby when you feel relaxed and happy, here are five ways to play with your words these holidays. 

    1 Interview your characters

    I love this writing practice for its ability to bring out greater depth in your cast of characters – and as a result, strengthen your novel. 

    It’s particularly useful if any of your characters are feeling one-dimensional on the page. 

    They may play an important role in the story arc, throwing up obstacles for your main character or helping them unravel a mystery, but who they are and why they act the way they do isn’t clear. 

    Or perhaps it’s your main character. You know they have a strong surface desire – they might want to fall in love or be married by 30 – but you haven’t fully explored the deeper desire underpinning that goal. The result is that readers might not connect with your character enough to go on that journey with them. 

    Interviewing your characters allows you to access hidden feelings, strengths, flaws, traits and more. 

    How to do it? Find a space where you can work uninterrupted for a while – around an hour. Then, start by throwing some basic questions at your character to get them talking. Where are they from? Where did they grow up? How many siblings? What colour is their eyes? How do they dress? 

    Then start throwing in some curlier questions. They might be directly related to your plot or characters (eg why do you dislike so-and-so, why did you make that decision?), or they might be more personal: What’s your earliest memory? What’s your greatest fear? What past hurt can you not forgive?

    You might be surprised what comes out and how it can take your novel to another level. 

    2 Read a (craft) book 

    Sometimes, you just need a break from writing. 

    If you’re lacking inspiration or wondering how to unravel a sticky spot or want to level up your writing skills, why not devote this holiday period to some writing theory instead of practice. 

    There are loads of great books on the craft of writing to explore. Some of my favourites are: 

    Big Magic by Elizabeth Gilbert

    Perfect if you need a gigantic shot of inspiration. Gilbert makes any creative task feel achievable in this guide.

    Eats, Shoots & Leaves by Lynne Truss

    Truss’s guide to punctuation is funny, interesting and informative. The trifecta!

    The Emotion Thesaurus by Angela Ackerman and Becca Puglisi

    Use this fantastic handbook to liven up your characters’ emotional responses in dialogue and action beats. Perfect if you find a character routinely groaning, blushing or biting their lip.

    Searching for the Secret River by Kate Grenville

    Grenville generously shares the story behind her beautiful novel The Secret River, from the family history that inspired the tale to the twists and turns it took in editing. 

    3 Go on a creativity date

    This tip is based on the artist date exercise in Julia Cameron’s The Artist’s Way, which is a 12-week program designed to get creative juices flowing. 

    I love the idea of taking yourself on a date to inspire creativity, and the holiday period is the perfect time to do it. You could visit an art gallery, have lunch solo, go to the cinema or walk in nature – it’s about finding an experience that will spark your curiosity. 

    To make it even more closely related to your WIP, imagine the experience through one of your character’s eyes. What would they order at the café? What kind of movie would they choose? What would be their favourite artwork at the gallery and why? How would they feel walking in the bush on their own?

    The idea is to be playful to unlock your creativity and bring unexpected ideas to the surface. 

    4 Try a different point of view

    Do you always write in the same close third-person point of view? Maybe you love the intimacy of first-person stories.

    There’s no right or wrong, but if you’re feeling stuck with your story you might want to flip the POV to see if that helps to address a stagnant pace or brighten up a sluggish mid-section. 

    You don’t have to commit right now – this is about experimenting. Try rewriting a scene or a chapter in a different POV, whether it’s going from third to first person or swapping from one character’s perspective to another’s.

    It’ll feel unfamiliar at first, maybe even a bit ick. Push through and notice what comes out in your story as a result – perhaps more insight into a character, perhaps a lighter, brighter voice. It could unlock a whole new perspective on your novel and your writing style. 

    5 Create a style sheet

    Think of this as life admin for your WIP. 

    A style sheet is a document that keeps track of the world inside your novel, from the nuts and bolts of specific spelling decisions to the traits of characters who inhabit your story. 

    It’s a great consistency tool, because it allows you to quickly check those finicky details, like if you use OK rather than okay, if your character’s eyes are blue or green, and if you use italics or quote marks for thoughts. 

    You can create your own style sheet easily in Word, listing your world-building decisions under categories such as ‘settings’ and ‘characters’ and spelling and punctuation choices under alphabetical subheadings (for example, an entry such as quotation marks: single, double within would fall under Q).

    This is especially important if you’re working on a series, as it helps you maintain consistency across books, and it’s great for speculative fiction, which often has a long list of world-building rules to keep up with.

    If you team up with an editor on a copy and line edit, they will create a style sheet for your work (I provide authors with a comprehensive style sheet when I return their copyedited manuscripts). And if you’ve already created your own, you can pass it on to the editor or proofreader for their reference as they work on your novel – they’ll love you for it! 

    I hope these ideas help you get your creativity firing these holidays! Let me know in the comments which of these writing practice gifts have been most useful for your WIP.

  • No words ever wasted: Why writing to rewrite isn’t a waste of time

    Worried that all that writing you’re doing might eventually end up in the bin? Here’s why your words are never wasted, even if they don’t make the final cut.

    Tension square. 

    These two words, without fail, elicit a groan in me every time I see them at the top of a knitting pattern. 

    If you’ve ever been seduced by a silky skein of wool, you’ll no doubt be familiar with the concept of tension squares. They ask the knitter to make a small test square using the yarn and needles required for the pattern to check their tension – that is, how tight or loose they naturally knit. If you have more stitches per centimetre than the pattern indicates, you need to loosen your knitting. If you have fewer, you need to tighten up. 

    It’s a quality-control process that good crafters understand and follow, knowing that if their tension is off they won’t wind up with a well-made garment in the end. It will look shrunken and silly, or hang limp and uneven. Taking the time to check their tension at the start can insure them against a disappointing finish. 

    Unfortunately, I’m not one of those crafters. 

    To me, tension squares have always felt like a waste of time. I’m excited to start the project and I want the finished product yesterday. 

    That’s fine if I’m making something like a scarf or a beanie. But for a garment? Well, let’s just say I’ve never made a jumper I’d wear in public. 

    Patience makes perfect

    My refusal to sit with the tedium of knitting tension squares has always held me back from achieving my goal of making a beautiful jumper, cardigan or vest. I’m simply too impatient to be a great crafter.

    I think the same can apply to the craft of writing. 

    I know a lot of writers worry about the possibility that they’re putting in loads of writing time and effort only to have to abandon great swathes of copy at some distant point in the future. They think:

    • What if an editor suggests cutting a whole section of the book? 
    • What if a publisher insists on changing the point of view or adding a new character? 
    • What if I wake up one day and decide the plot is all wrong, the main character sucks and I hate the ending? 

    Writing a book is a lot like knitting in that it’s a skill that takes a lot of practice – and even more patience. 

    You’ll start off excited to work on your idea and see where it ends up, but it’s slow and painstaking work. You might drop a stitch and have to work backwards to fix the hole. And at some point in the process, you might find yourself pulling on a loose thread and unravelling the whole damn thing down to nothing. 

    So, is it a waste if you had to pull out your work and start from scratch? Well, maybe, but only if you think you have nothing to learn. 

    Yes, it hurts to cut chapters you spent hours putting down or to give up on a character you once loved. But those early drafts weren’t wasted. The process of writing them taught you about structure, narrative arcs, characterisation, dialogue, showing vs telling, deep point of view. They might even inspire new stories further down the track. 

    What about writing exercises? Like tension squares, practices such as interviewing your characters, writing a detailed backstory or testing out a different narrative tense might feel like a distraction from the main game – finishing your novel – but they’re not as pointless as they can seem. 

    Sure, they’re time consuming and they might not ever make it to the published page. But are they a waste? No. They’re an opportunity to work on your craft and expand your skills. A quality-control process to ensure that the finished product is polished, engaging, and definitely worth showing off in public. 

    Five ways to reframe your rewrite

    If you’re struggling to let go of some of your darlings or worried that you’re wasting your words, try these tips: 

    • Create a safety net: Put any cut material into a separate word file and save it. You might come back to it later, you might not. Tell yourself it’s still valued material by keeping it on file. 
    • Set a time limit for your writing practice. If you’ve been staring at your screen for 15 minutes and feel like the words aren’t flowing, don’t force it – you’re unlikely to love the work you create in this mood. Put your laptop away and come back to it later when you’re in a more creative mindset. 
    • Try writing just for fun, sometimes. Don’t pressure yourself to create something amazing or reach a certain stage in your novel every time you sit down to write. Practise writing for the joy of it – try writing some flash fiction, pen a poem or just free-journal your thoughts.  
    • Make a plan for your rewrite. Don’t just dive in – go through your manuscript with a critical eye and pinpoint what areas need work, then follow through systematically. Not sure where to start? An editor can give you sensitive, professional feedback on your story and a plan for how to strengthen its weak points. Check out my structural editing service here.
    • Accept that rewriting is part of the process, no matter how far along you are in your writing journey. Even the best, most accomplished authors write multiple drafts of their novels. As Anne Lamott says, “Almost all writing begins with terrible first efforts.”