NOTE: The break is for the For Writers section of my Substack, not the rest.

As the year winds down, I just want to take a moment to thank you for reading, engaging, and sharing this space with me. Your enthusiasm for writing—whether you’re just starting out or deep in the middle of your next story—has made this year so rewarding.

This will be my last post for the year. I’m taking a little break to recharge, finish a couple of projects, and plot my second book.

Looking back, I’ve enjoyed sharing tips and behind-the-scenes thoughts with you. I hope some of it sparked new ideas, helped you tackle your own writing, or simply reminded you that your writing matters.

At this point, I’m not sure what the new year holds for me. While I’d like to continue writing these posts a couple of times a month, I’m not sure if I’ll continue. I have big plans of my own for next year—like releasing two books in a new-to-me genre, hopefully winning that grant so I can travel and write Book #3 in June—if not I’ll write it anyway.

I also hope to do a Kickstarter and start a paid membership over in my shop. I have opened my free membership there.

While I’d like to continue writing these posts for you, I’m not sure if I will. So, let me know if it’s something you’d like to see next year, and I’ll try my best to make sure it happens.

If not, I’ll still be here, rooting for you because that’s what writers do. They cheer on fellow writers—or at least I do.

Until next year, I hope your holiday season is full of joy, rest, and maybe a little magic for your stories too.

Thank you again for being part of this community. I truly appreciate each and every one of you. Happy holidays—and happy writing in 2026!

Today, my friend Page Eaton is guest posting for me. She has created a handy guide to publishing confidently as an indie author that will help you make confident, informed, and solid publishing decisions.

She even wrote this article about how to use your subgenre to make fundamental editing decisions.

Beyond the Blurb: How Genre Clarity Supercharges Your Editorial Relationship

As authors, we pour our hearts into our stories. But even brilliant manuscripts falter if misaligned with their intended audience. That’s where genre clarity becomes essential—not to please your editor, but to:

• Create the best possible reading experience for your target audience

• Reduce time spent in editing and rewriting, so you can move on to your next story

Genre is a Promise to Readers

Genre isn’t just a shelf label—it’s a contract with readers. Until you and your editor share a clear understanding of these promises and your audience, it’s difficult to assess if your story is landing effectively.

• Category determines who it’s for (Adult, YA, MG).

• Genre establishes the primary story engine (Romance, Mystery, Fantasy).

• Subgenre narrows the promise (Sweet Small-Town Romance, Cozy Mystery).

Nailing this upfront sets expectations for structure, tone, heat, pacing…all the things. Without it, editors waste time clarifying basics, delaying your path to publication.

Master Core Expectations and Tropes

Every genre has must-have elements. Romance requires an HEA/HFN; cozy mysteries minimize on-page violence; thrillers prioritize escalating tension. Genre tropes—the grumpy-sunshine dynamic in romance or the chosen one in fantasy—signal the emotional journey readers expect.

Your editor can help you leverage these elements effectively, determining if you’re leaning too heavily into predictability or missing crucial payoffs. When you bend conventions, your editor ensures it feels intentional rather than accidental.

Craft Choices Serve the Genre

Genre expectations should dictate basic craft choices (you should not be pulling this stuff out of thin air!):

• POV preferences: Romances typically use single or dual POV; fantasies often employ multiple POVs.

• Word count ranges: Epic fantasies frequently exceed 90,000 words; novellas compress beats for quicker reads.

• Pacing and tone: A sweet romance’s emotional intimacy requires different pacing than a fast-paced thriller.

Significant deviations from subgenre norms may indicate missing beats or unnecessary details. If you’re experimenting, let your editor know so they can assess reader immersion accordingly.

Comps Create a Shared Vision

Providing two to three recent, successful comparable titles (comps) is a shortcut to a shared vision. Select books published within the past 3 to 5 years.

Clarify what you share in common: tone, pacing, trope mix, steam level, or narrative voice. This anchors feedback, ensuring arcs and market fit align—turning edits into strategic polishing.

Investing in Clarity Pays Dividends

When you present your manuscript with a solid understanding of how your genre has helped shape your story, you empower your editor to work more efficiently and deliver more impactful feedback.

They can hone in on the elements that truly matter for your specific story, target audience, and unique author voice, ensuring every dollar and hour spent on editing yields the greatest possible return—instead of spending time reverse-engineering the book you meant to write.

Page gave some great tips in this article, so make sure you grab her 3-Step Guide to Publishing Confidently. You’ll be glad you did!

Do you ever forget when a character was born? Or how about remembering where a store is located within your small town? You’re not alone.

Writing a series is one of the best things we can do as authors, but keeping everything straight can get overwhelming. Trust me, I’ve been there—juggling book one, a new short story, a possible Christmas novella, and already dreaming about book two.

Readers notice inconsistencies, especially when they’ve fallen in love with your world. They’ll remember that your heroine’s golden retriever was named Daisy in book one, not Dixie. So how do you keep everything consistent while still having fun writing the next story?

1. Keep Your Characters Consistent

Your characters are the heartbeat of your series. Readers connect with their personalities, quirks, and emotional growth, so make sure you track the smallest details.

Start by creating a character bible. It doesn’t have to be fancy—even a simple doc or spreadsheet works. Include physical traits (eye color, hair, height), relationships, habits, and little personality notes like hates mornings or uses sarcasm as a defense mechanism.

If you’re writing a long series, track how each character grows over time. It’s easy to forget what they’ve already learned or conquered in previous books. You want growth, not random changes that make readers wonder what happened to the character they knew.

And don’t forget dialogue consistency. The way a character talks—those favorite phrases or speech patterns—should sound the same from book to book.

2. Track Your Plot and Timeline

Plot threads and timelines can get messy fast, especially when you’re juggling multiple storylines or overlapping events. A series timeline is a lifesaver. Note major events, birthdays, holidays, and even the season each story takes place in. That way, you won’t accidentally have Christmas showing up twice in the same year.

Keep a series summary—a few paragraphs recapping what’s happened in each book and what your characters know (versus what readers know). It’s especially helpful when dropping hints for future storylines.

3. Stay True to Your World

Whether your series is set in a small beach town, like mine are, or a sprawling fantasy world, consistency in setting makes your story feel real. Keep a Places and People file that lists every location, business name, side character, and local tradition.

Even better, make a map. It doesn’t have to be pretty. Just sketch out where things are so your readers don’t end up imagining your coffee shop across town one book and next to the pier the next.

You could create a visual inspiration board—Pinterest or Canva works great—for photos, mood, and atmosphere. I’ve seen other authors do this, and it’s something I’m planning to try soon.

4. Tools to Keep You Organized

There’s no single right way to do this, but here are a few tried-and-true tools:

• Scrivener – great for keeping each book’s notes and scenes in one project file.

• Notion or Airtable – customizable for character bios, plot timelines, and worldbuilding.

• Google Sheets/Docs – simple and searchable.

• Plottr or Campfire – perfect for visual thinkers.

Personally, I’m a paper and pencil/pen fan. I draw out timelines on big paper and doodle/write notes around it.

But as I write more stories in the Sunrise Beach series, I’m realizing I may need to switch to something digital—and since I already have a Notion account, that’s probably where I’ll build my series bible.

Notion would allow me to keep everything in one place—character lists, series timeline, random notes that might become future subplots. It’d make a great digital series bible.

Writing a series takes time. The longer it goes, the more those tiny details matter. But with a little organization, you can keep your story world as consistent and believable as it was on day one.

What about you? How do you track details across your series—or what’s the funniest continuity mistake you’ve ever caught? Hit reply and tell me—I’d love to hear it!

You’ve poured your heart and soul into your novel. You typed “The End.” That feeling of accomplishment is incredible, isn’t it?

But before you send that book to a professional editor, there’s one more vital step—self-editing.

Now, I know what you might be thinking, but self-editing is an important opportunity. It’s your chance to refine your work, catch glaring errors, and elevate your storytelling. You’ll impress your editor, save time, and save money.

Here are practical, actionable tips to give your manuscript that essential polish.

1. The Critical Cool Down Period

While some authors take weeks away from their novel, others might only need a few days. The key is putting enough distance between yourself and your work so you can return with fresh eyes. Of course, the amount of time is up to you.

In the down time, read other books or do other things. When you return, you’ll be amazed at what you notice—both good and bad—that you completely missed before.

2. Read Aloud

Whether you read it yourself or you use something like Word’s Read Aloud feature, reading your manuscript aloud forces you to slow down and engages a different part of your brain.

• Catch awkward phrasing: Does that sentence flow naturally, or does it trip you up when spoken?

• Identify repetitive words: You’ll quickly hear if you’re overusing “just,” “that,” or a particular character’s tic.

• Spot missing words or grammatical errors: These are often easier to hear than see.

3. Use the Find Function

Your word processor’s Find function (Ctrl+F or Cmd+F) is your secret weapon. Use it strategically:

• Overused words: Make a list of your personal crutch words (we all have them!).

• Weak verbs: Search for “was,” “were,” “had,” “got,” “started to,” “began to.” Can you replace these with stronger, more active verbs? (e.g., “She started to run” becomes “She sprinted.”)

• Adverbs ending in -ly: While not always bad, many can be replaced with a stronger verb or a more evocative description. (e.g., “He walked quickly” vs. “He scurried.”)

• Filler words: “Just,” “that,” “really,” “very,” “a little bit,” “in order to.” Often, these can be cut without losing meaning.

4. Focus on One Editing Pass at a Time

Don’t try to fix everything at once. This leads to overwhelm and missed errors. Instead, do focused passes:

• Pass 1: Story & Structure: Pacing, plot holes, character motivation. Is the story resonating?

• Pass 2: Clarity & Conciseness: Trim unnecessary words, tighten sentences, ensure every word earns its place.

• Pass 3: Consistency Check: Names, timelines, character details (eye color, specific habits). Create a simple story bible for yourself if needed.

• Pass 4: Grammar, Spelling & Punctuation: The final polish, catching mechanical errors.

5. Utilize Technology

While nothing replaces a human editor, tools can be helpful:

• Grammar checkers: Grammarly or ProWritingAid can be useful to flag potential issues, but always apply your own judgment. They don’t understand context or authorial voice.

• E-reader format: Convert your manuscript to an e-book and read it on your Kindle or e-reader. The change in format can make errors jump out.

Why Self-Editing Matters

A professionally edited manuscript stands out. By diligently self-editing, you:

• Save money: Fewer errors mean your editor spends less time on basic fixes, allowing them to focus on the important work.

• Make a strong first impression: A polished manuscript signals professionalism and attention to detail.

• Strengthen your own craft: The more you self-edit, the better you become at identifying and improving your own writing.

So, before you send your novel to an editor, I strongly recommend you do a self-edit. Your editor will thank you, and you’ll be happy you did.

When you finish a novel, what is your self-editing process like? I’d like to hear, so share in the comments!

If you’ve ever stared at your manuscript wondering if you need beta readers or an editor, you’re not alone. It’s one of the top questions I hear from authors, especially first-timers.

Both beta readers and editors can make your book stronger, but they play very different roles. Knowing who to call and when can save you time, money, and stress.

What Beta Readers Do

Think of beta readers as your test audience. They’re usually volunteers—avid readers or fellow writers—who approach your story as a reader would.

They can tell you such things as they didn’t understand this character’s motivation or the middle dragged. They could also say positive things like how they loved the twist at the end.

That feedback is great for spotting plot holes, confusing arcs, pacing issues, or characters who aren’t working.

But beta readers aren’t trained editors. Their feedback can be subjective or contradictory, and most won’t flag problems like grammar or consistency.

If three people mention the same problem, it’s worth a hard look. If one person hates your main character but nine love her, that isn’t a problem I would worry about.

What Editors Do

Editors are paid and have specific expertise—developmental, line, copyediting, or proofreading. They’ve been trained to look at structure, style, and clarity through a craft and industry lens.

A good editor will point out where the plot structure breaks down, help you deepen character arcs or sharpen themes, and polish your sentences for pacing, grammar, and consistency.

An editor takes your manuscript from good to industry-standard. But they’re not mind readers. Unless you hire someone who specializes in your exact sub-genre, they won’t necessarily tell you what your ideal reader will think.

And of course, there’s the cost factor. Good editing is an investment.

When to Use Each

Here’s a simple sequence you might use as you’re finishing your book:

• Do a self-edit. Get it as strong as you can on your own.

• Send to beta readers. They’ll give you real reader reactions so you can see how the story lands emotionally and logically.

• Revise, then hire an editor. Once you’ve used beta feedback and can’t improve it further alone, bring in a pro for a deeper craft and polish pass.

If you’re skipping beta readers, you can hire an editor earlier for a manuscript evaluation or critique.

Beta readers and editors aren’t interchangeable. They’re complementary. Beta readers help you gauge reader experience, and editors help you refine craft and presentation. Using both intentionally gives your book fresh eyes at every stage.

How have beta readers or editors shaped your writing journey? Have you found one more helpful than the other at certain stages? Share your experiences (and any tips) in the comments below so we can all learn from each other!

Remember to change your Substack settings if you don’t want to get one or the other of my posts. Go here to do that.

Subplots are tricky little things. They sneak into your manuscript—sometimes quietly, sometimes like a kid running across the beach in a rainstorm. Lately, as I’ve been editing my book, I’ve realized just how much power these side stories can have.

When they work, they make your story richer and more layered. But when they go rogue? They can pull your readers out of the main story—or worse, leave you scratching your head while writing. That’s where editing comes in.

Identifying Your Subplot

The first step is identifying your subplots. Take a fresh look at your draft and make a list of every storyline that isn’t your main plot. In Mending Hearts, for example, the community center renovation is my main subplot. It’s not just about Rachel and Greg’s romance, but it reflects their personal growth and the way they’re learning to trust each other again.

Ask yourself: Does this subplot support the main story? Does it reveal something new about a character or theme? If it doesn’t, it might need to be trimmed or reworked.

Keeping Subplots Consistent

Once you know what you’re working with, consistency is key. Subplots can drift if you’re not paying attention, and sudden inconsistencies can jar your reader. Keep track of timelines and character motivations. Is a side character acting in a believable way? Are their goals clear?

Mapping each subplot alongside your main plot can help you spot gaps or slow spots. In my story, Rachel’s daughter occasionally notices changes at the center, which helps tie the subplot into the main romance, but if those moments were scattered or inconsistent, the connection would be lost.

Subplots that Enhance the Main Plot

The real magic happens when your subplots enhance the main story. A well-crafted subplot can mirror, differ, or increase the central conflict.

Think of it like this. If your main story is about two people learning to trust again, a subplot about the neighbor’s small victory—or even a challenge—can subtly echo the theme. Anything that doesn’t raise stakes, reveal character, or reinforce your theme should be reconsidered.

Editing subplots can feel tricky, but it’s also freeing. It’s your chance to make sure every thread in your story has purpose, every scene drives toward something, and every character’s journey feels true. When you get it right, your story works well.

So take a careful look at those side stories. Keep what strengthens the main arc. Cut or rework what doesn’t. And remember, every subplot you polish is another way to make your story feel alive, cohesive, and satisfying for your readers.

What’s the trickiest subplot you’ve ever had to edit, and how did you tackle it? Hit reply and let’s swap stories!

Have you ever been halfway through a book and realized your timeline is all over the place—too many events crammed into one day, or a summer romance that suddenly drifts into November?

Been there, done that.

It happens more often than you’d think.

Timelines in novels can get messy fast, especially when the story spans months or years, multiple characters are living their own arcs, or you’re juggling flashbacks. Readers may not notice a typo, but they will notice if your timeline doesn’t add up.

And once they do, it can pull them right out of your story. That’s why time consistency matters.

A believable timeline keeps your story immersive while shaping pacing. Days that stretch impossibly long make tension fizzle, and weeks that vanish without explanation make character growth feel rushed.

In genres like romance, mystery, or family sagas, readers are invested in how relationships evolve and events unfold—time plays a huge role in that experience.

Common Timeline Slip-Ups

Here’s what I see most often when I’m editing an author’s book:

• The endless “next day.” If every chapter starts this way, a months-long story suddenly plays out in a week. I tell authors to be specific about which day it is.

• Forgetting weekends and holidays. Does your teen protagonist really have school every day? If you’re writing for young readers, keep the school calendar in mind.

• Superhuman recovery times. That broken arm healing in a week? Keep it realistic, or readers won’t believe it.

• Overstuffed days. Characters sometimes squeeze more activity into one 24-hour period than most of us could manage in three. I’m guilty of doing this myself, so I make sure to spread events out.

Tools That Keep You on Track

You don’t need to juggle everything in your head. Personally, I like using a big sheet of paper and drawing a timeline—just like I did in history class projects as a kid. But there are plenty of other methods:

• Spreadsheets: Google Sheets with columns for date, day of week, scene summary, and POV.

• Scene cards: Notecards or sticky notes marked with date/time so you can shuffle them.

• Software: Aeon Timeline, Plottr, or Scrivener if you prefer digital tools.

• Printed calendars: Use a printed calendar and fill it in like you’re planning your daily life.

• Boards: Tools like Trello or Notion can create visual maps of your story’s days and weeks.

Tips for Staying Consistent

Anchor your story with non-negotiables first—holidays, school years, weddings, major events.

• Remember travel and recovery times—no teleporting unless you’re writing sci-fi.

• Dedicate one revision pass to a timeline read-through, focusing only on dates and time references.

• Consider aligning your story with a real calendar to save brainpower.

• For multiple POVs, set up parallel timelines so you can see what each character is doing on the same day.

Skipping Time on Purpose

You don’t have to share every detail of every day. Skipping hours, days, or even weeks is fine if nothing important is happening—as long as the jumps feel intentional.

A well-tracked timeline will make your story flow naturally while mistakes can pull readers out of it. The best method is the one you start using early—whether during outlining or your first draft. It’ll save you headaches in revisions and keep your story consistent.

So tell me—what’s the funniest or most frustrating timeline mistake you’ve ever caught, either in your own draft or in a book you’ve read?

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Have you ever been halfway through a book and realize a character has the wrong name? I have. You really want to change it, but you know it’s going to be a pain, especially if you miss one.

And I’ve done that—even figured it out after I’d published the book. Oops. I got a good laugh out of it.

Changing names in the middle of writing a book is more common than you think. In fact, I’d say most authors have done it at least once. However, handling the change without creating a mess is the tricky part.

So, let’s talk strategy.

Commit Early

Once you decide your character has to be renamed, just do it. Make the switch, even if it feels awkward at first. The sooner you commit, the less you have to worry about later. You might want to avoid making the switch right away, but you’ll be glad you did.

Use “Find and Replace”

I’ve used “Find and Replace” not only for names, but for other words as well. It’s every writer’s best friend and worst enemy. “Find and Replace” can definitely be helpful, but it can also miss words.

So, check and double check. I also suggest using the “whole word” option if your software offers it.

Keep a Style Sheet

This doesn’t have to be fancy—just a living document where you jot down names, nicknames, physical traits, quirks, and even timeline notes. That way, when “Katherine” becomes “Kate,” you’ve got one place to update the change.

Later, when you’re editing or writing the next book in your series, you won’t have to wonder what name you used in your previous books. Scrivener, Notion, Word, or even a good old-fashioned spreadsheet can all do the job.

Flag Changes in Your Draft

When I’m in the middle of a messy draft and make a change, I’ll often highlight the text to remind me to check it later when I’m editing. This is especially helpful if the character’s new name might subtly change how you think about them.

Don’t Panic

Name changes aren’t a sign that you don’t know your characters. They’re often a sign that you do. You’re getting to know them better, and you’ve realized the original name doesn’t quite fit who they’ve become on the page. That’s not a mistake. That’s growth.

So, trust your instincts, make the name change, and figure out a way to track it. You and your editor will be glad you did.

Name changes happen to most of us. If you’ve got a story, especially the most ridiculous or hilarious name-change you’ve made, share it below!

And if you’d rather have someone else track the details so you can focus on writing, that’s where I come in. I offer line edits, copyedits, and proofreading to keep everything consistent from page one to “The End.”

Thanks for reading Thoughts on Writing! Subscribe for free to receive new posts, get my free eBook, and support my work.

What’s one of the fastest ways to make a reader put a book down? Dialogue that doesn’t sound like something anyone would actually say.

You’ve probably read it before—characters speaking in perfectly complete sentences, dropping background info into conversation like they’re reading from an encyclopedia, or having back-and-forth exchanges that feel awkward.

But great dialogue isn’t about copying exactly how people speak in real life, which you don’t want to do either. It’s about capturing the rhythm and feel of real conversation while keeping it purposeful.

Here are some of my go-to tips for writing—and editing—dialogue that keeps readers turning the page.

Listen to how people actually talk

Pay attention to real conversations—at the coffee shop, in line at the grocery store, anywhere people gather. You’ll notice that we don’t always use full sentences. We interrupt. We trail off. We use contractions, like I’m, you’ll, or we’re, without thinking about it.

Read your dialogue out loud. If it feels awkward when you read it, it’s going to feel awkward on the page.

Skip the “as you know” moments

Nothing makes dialogue feel more fake than characters telling each other things they already know just so the reader can catch up.

For example, “As you know, Claire, we’ve been sisters for twenty years.”

If they already know it, they wouldn’t say it. Instead, look for ways to weave information in more naturally, like this, “Come on, Claire, I’ve known you since you were eight.”

This is the same idea, but it’s much more believable.

Lean into subtext

People don’t always say exactly what they mean. Sometimes they dodge questions, change the subject, or answer with a joke instead of the truth. That’s subtext, and it helps for creating tension and depth in your dialogue.

Look over your dialogue for anything that’s too obvious. Can you hint at what’s really going on instead of spelling it out?

Keep tags simple

You don’t need to get fancy with “he exclaimed excitedly” or “she retorted angrily.” Besides, using too many adverbs slows down the reading. Some writing craft books will even tell you to avoid adverbs altogether.

Most of the time, “said” works just fine, especially if you add a little action to show emotion. For example, “I can’t believe it,” she said, clutching the ticket. The action tells us how she feels without a single adverb.

Cut the extra fluff

Sure, we say “hello” and “goodbye” in real life, but unless those greetings reveal something about your characters or move the story forward, they’re just slowing the scene down.

When editing, look for lines you can trim so the dialogue stays sharp and engaging.

Final Dialogue Check

Before you call it done, ask yourself:

• Does it sound like something this character would actually say?

• Is the emotion there without overexplaining?

• Can I make it tighter without losing meaning?

Natural-sounding dialogue doesn’t just happen. It’s a mix of listening, paying attention to character voice, and being willing to edit out what doesn’t help the story. When you nail it, readers stop noticing the words on the page and fall right into the conversation.

Have a favorite line of dialogue you’ve written? Drop it below—I’ll tell you why it works (or help you tweak it if it’s feeling off).

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There’s a moment in almost every novel draft when the momentum stalls. Or, on the flip side, it suddenly takes off toward the end. Either way, it’s a pacing problem, and it’s more common than you think.

While I don’t do developmental editing, I do write my own books, and I keep an eye out for these two hotspots: the middle that starts to drag and the ending that wraps up way too fast. Both can sneak in and leave your story feeling off even if the characters and premise are solid. The good news is you can fix it without ripping the whole thing apart.

The Saggy Middle

This is where I am right now with the editing and rewriting of my WIP. I do feel like my rewriting is making it better than the first draft, but the middle is still hard.

And I’m sure I’m not alone with this opinion. The midpoint is one of the most common places writers lose steam.

How do you know if you have a saggy middle? Here are a few signs:

• The main plot feels stalled or directionless

• Subplots take over but don’t connect to the main goal

• Your characters are just reacting, not making choices

• The stakes don’t feel any higher than they were 100 pages ago

If that sounds familiar, here’s a quick check-in:

• What does your main character want right now, and what’s getting in the way?

• Has something changed since the beginning?

• Are the scenes actually moving the story forward or just filling space?

As an author myself, I take a close look at the midpoint. Something meaningful should happen there, not necessarily a big action moment—though it could be—but something that changes how the main character sees the situation or themselves. That shift gives the story new energy and helps push the second half forward.

The Rush to the End

This one usually shows up when an author’s excited to finish, on deadline, or ready to move on to the next idea. And honestly, I’ve been there. But when the final third of your book speeds by too fast, it can leave readers feeling unsatisfied.

Some signs your ending might be rushed:

• Major conflicts are resolved too quickly or conveniently

• Emotional beats feel skipped or brushed aside

• Character growth doesn’t feel fully earned

• Readers are left saying, “Wait, that’s it?”

The solution usually isn’t to write more but to write deeper. Give your characters time to process what happened. Let us see the fallout from the climax. Make sure the emotional and plot arcs both get the attention they deserve.

The solution usually isn’t to write more—it’s to write deeper. Let your characters process what just happened. Show the emotional and plot fallout. Give us time to feel the resolution, not just see it.

How to Spot Pacing Problems in Your Own Draft

One of the easiest ways to diagnose pacing issues is to make a quick scene-by-scene outline. Just jot down what happens, what changes, and whose perspective it’s from (if applicable). Then step back and look for patterns:

• Scenes that don’t change anything

• Repeated beats that feel too familiar

• Gaps where something important feels missing

• A final sprint where four big things happen in ten pages

From there, you’ll have a clearer idea of what needs to be tightened, stretched, or given more emotional weight.

If you’re dealing with a mushy middle or a too-fast finish, you’re not alone. These are normal parts of the drafting process, and they’re fixable. Pacing doesn’t mean writing fast or slow. It means making sure each scene earns its place and keeps the story moving forward.

And if you’re getting your manuscript ready for line or copyediting? Cleaning up pacing first makes a huge difference. Once the structure is solid, the sentence-level polish can really shine.

Need help with your novel or other writing? I offer line editing, copyediting, and proofreading for writers and authors. If you’re ready for an editor, I’d love to help you.

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When I’m editing either my own book or a client’s, I’m always on the lookout for repetition. And I’m not just talking about repeated words or phrases. I mean ideas, scenes, dialogue patterns, and emotional beats that start to feel a little too familiar.

Repetition can sneak into any draft. When we’re deep in the writing, we often don’t realize that we’ve written the same scene twice or that a character is still spinning in the same emotional place they were three chapters ago. That’s normal. It’s part of the process. But this kind of stuff can slow down the pacing, flatten character arcs, and cause readers to lose interest.

So, let’s talk about how to spot those moments and what to do once you’ve found them.

The Emotional Loop Trap

This is one of the most common forms of repetition I see. A character is struggling with something—grief, self-doubt, anger, fear—and we stay in that emotion a little too long. In chapter five, they’re nervous about opening up. In chapter eight, they’re still nervous. And it happens again in chapter ten.

The problem? The emotion hasn’t evolved.

Emotions can and should reappear in a story, but they need to shift. Even if the character isn’t ready to make a big move yet, something in their thinking or circumstances should change. Otherwise, it feels like we’re circling.

You can fix it by asking:

• Is this a deeper or more complicated version of the emotion?

• Has anything shifted between the last time and now?

• Is this necessary, or can I trim it without losing emotional depth?

Sometimes, less really is more.

Twin Scenes

Repetition can also sneak into scene structure. Maybe you’ve written two or three scenes that all show your characters flirting over coffee, having a heart-to-heart while walking on the beach, or hashing out the same concern with different people.

Each scene may work on its own, but together, they blur into one long, repetitive stretch.

You can ask yourself:

• Is each scene adding something new—plot development, emotional growth, or rising tension?

• Could I combine two similar scenes into one tighter, more impactful moment?

• Can I change the setting, tone, or stakes to create variation?

Readers are smart. They don’t need to be told the same thing multiple times. If you’re repeating a moment, there should be a reason and a payoff.

Vary the Emotional Texture

Even if a feeling or idea needs to come back, you can keep it from feeling repetitive by shifting the tone. Think of it like a soundtrack:

• Scene one is quiet and sad

• Scene two is angry and sharp

• Scene three is resigned but hopeful

The same core emotion is there, but it’s layered and evolving. That’s what gives a character arc richness and depth.

Repetition isn’t a failure. It’s usually a sign that you’re onto something important. The trick is to find the strongest moments and cut the rest. You want each beat to matter, not just fill space.

If you’re deep in revisions and want a second set of eyes to help you smooth out the emotional flow or tighten the pacing, I’d love to work with you. Line editing is one of my favorite parts of the job, and I’m all about helping writers tell the strongest version of their story—without losing their voice. Comment below!

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When I’m writing my own books, deciding where to end each chapter can be tricky. Why? Because I want to keep my readers turning the pages.

At the same time, I know how important it is to break a chapter in the right place. That pause gives your reader a chance to breathe. It’s a natural stopping point in your story. However, chapters can also affect pacing, emotional buildup, and how momentum carries from scene to scene.

Chapter Breaks

A well-placed chapter break keeps the story moving. If your chapters are too long or draggy, a reader might lose interest. If they’re too short and choppy, the story might feel rushed or disjointed. It’s a balancing act—and the right choice often depends on the genre and tone.

One tool writers often use to shape chapter endings is the cliffhanger. Now, I don’t mean every chapter needs someone dangling from a literal cliff or a gasp-worthy reveal. A good cliffhanger can be subtle, like a surprising piece of dialogue, an unresolved question, or a character on the cusp of a big decision. The key is to give readers a reason to turn the page.

But don’t underestimate the power of resolution either. Sometimes a quieter chapter ending—where a moment lands with emotional weight—can be just as powerful as a high-stakes twist. The trick is to understand what you want your reader to feel as they head into the next chapter: urgency, satisfaction, dread, hope?

Tips on How to Break Chapters

Here are a few things I consider when deciding where to break a chapter:

• Think in scenes. Each chapter should generally center around a complete scene or group of tightly linked scenes. If you’re switching time, place, or point of view, it may be a good place to break.

• Use chapter breaks to control pacing. If your story is slowing down, shorter chapters can add a sense of urgency. If you’re hitting an emotional moment, longer chapters may help the depth land.

• Read aloud or visualize your ebook. Where would a reader naturally pause? Where might they feel compelled to keep going?

In the end, chapter breaks are another storytelling tool in your toolbox. If you’re writing, experiment. If you’re editing, ask how each chapter break is shaping the reading experience.

Have you ever struggled with where to end a chapter or found a book you couldn’t put down because of brilliant breaks? I’d love to hear what you’re working on—and how you approach chapter structure in your own writing. Share in the comments!

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As I continue editing and rewriting my own novel, I want to talk about something I’ve been wrestling with over the last few weeks—chapter length.

The lengths of my chapters has sometimes stopped me from writing. One person says a romance, which is what I’m writing now, needs to be at least 2000 words. But another person says romance can be anywhere from 1500 to 2500 words.

So, how do you decide how long to make your chapters? Does it depend on the genre?

Short Chapters

There’s a reason short chapters are popular in thrillers, romance, and YA fiction. They keep the story moving. These short scenes often end on a mini cliffhanger, pulling readers through the book with that “just one more chapter” feeling.

Pros of short chapters:

• Keep the pace moving, especially in fast-paced or high-stakes stories

• Work well for alternating POVs or dual timelines

• Give readers natural stopping points but often keep them reading longer

Cons:

• If not done well, the story can feel fragmented

• Emotional moments or character development may not get enough space on the page

That said, short chapters aren’t just for thrillers. Many contemporary romance authors use shorter chapters to emphasize character tension or build momentum between emotional beats.

Long Chapters

On the other end of this discussion, longer chapters tend to show up in literary fiction, historical novels, and fantasy. These chapters invite the reader to settle in and stay awhile. They allow room to explore characters’ thoughts, expand on world-building, or let the emotional arc slowly unfold.

Pros of long chapters:

• Give writers space to build atmosphere and depth

• Ideal for complex stories or reflective moments

• Support a more leisurely reading pace

Cons:

• Can feel slow or overwhelming, especially on digital devices

• Fewer natural pause points, which might discourage binge-reading

Genre Trends and Reader Expectations

Chapter length isn’t just about personal preference. It often aligns with genre conventions and what readers expect.

Here are some quick observations:

• Thrillers/suspense: Very short chapters keep the adrenaline pumping

• Romance: Light, flirty romcoms are often shorter while dramatic romances may go longer

• YA and Middle Grade: Shorter chapters help hold young readers’ attention

• Fantasy/sci-fi: Longer chapters, especially in epic tales with world-building

• Literary fiction: Longer, often more experimental with structure

That doesn’t mean you can’t mix things up. Many authors play with chapter length for effect by using a string of short chapters to build tension, then slowing down with a longer one to let emotions breathe.

So What Should Writers Do?

There’s no hard-and-fast rule, but here are a few things to keep in mind:

Let the story guide you. Where does it make sense to break? Is this a good place for the reader to breathe or to be left hanging?

Pacing is everything. Want to speed things up? Use shorter chapters. Want to let something sink in? A longer chapter might be better.

Vary when needed. Not every chapter has to be the same length. Variety can create rhythm and interest.

Chapter length is one of those choices that shapes how a reader experiences your story. Whether you’re writing or editing, thinking intentionally about chapter structure can make a big difference in how your book flows and how likely your reader is to keep turning the page.

That’s where I am in my own process. Some chapters are shorter, around 1500 words, and some are longer, at least 2000 words, but I’m trying to keep it not much longer than that.

So, I want to know, are you Team Short Chapter or Team Long Chapter? Have you ever changed your chapter structure during editing? Drop a comment and let me know what works best for you—or send me a message if you’d like another set of eyes on your pacing and structure!

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I'm currently on a partial writing retreat while vacationing at the lake where I spent my childhood summers. So what does that mean, exactly? It means I’m working on my WIP—making good, but slow, progress.

I’ve already rewritten the entire first chapter, which means the rest of the book needs adjusting too. It’s a big undertaking, but worth it if it helps me deliver a stronger story to my readers.

One challenge with these changes is making sure the timeline still works. I usually do pretty well keeping names and locations consistent, but timelines? That’s where things get tricky.

And I know I'm not alone.

So, how do we, as authors, prevent our readers from being jarringly pulled out of the story by a character who suddenly has a different eye color or a timeline that doesn’t add up? My secret weapon is a story bible. It sounds epic, and honestly, it kind of is. It's my single source of truth for the entire novel. Here’s how I build and use one.

The First Read-Through

When I’m working on my own WIP, the first step is the same. I do a full read-through specifically to hunt for details. I’m not reading for plot or pacing. Instead, I have a journal and jot down every concrete detail I can find, such as character names, locations, dates, and events.

This initial pass gives me a raw data dump of my entire world. It's messy, but it's the foundation for everything else.

Build Your Bible, Section by Section

Now, I organize that raw data. This can be a Word doc, a Google Sheet, or a file in Notion—whatever you choose. The tool doesn't matter as much as the organization. For me personally, I like to use paper and pen and have it in a journal.

• Character Sheets: Each major character gets their own page. I list their full name, age, physical traits (hair, eyes, height, scars), key personality quirks, and relationships.

• Location Log: Every single setting gets an entry. I’ve even drawn a map on big paper, so I know exactly where everything is.

• The Master Timeline: This is the most crucial part for me. I create a simple timeline on a big piece of paper. Remember those timelines we drew before the internet was a thing? Yep, that would be me. I’m a visual person and need to see it written down.

That’s all I do to keep things straight as I’m editing and revising my WIP. Pretty simple, right?

Now I want to hear from you! What's the trickiest continuity error you've ever had to fix in your own manuscript? Or do you have a secret tracking method that saves you a ton of time? Share your own tips in the comments below!

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I’m currently deep in developmental editing with the first book of my sweet romance series, and it’s not going as well as I’d like. Of course, when I’m a perfectionist, that doesn’t help.

But what is developmental editing? Well, it focuses on the big picture, making sure you have a compelling and cohesive story. It’s the first big step in editing your book.

What is Developmental Editing?

Diving a little deeper, developmental editing, sometimes called content editing, involves analyzing and reshaping a manuscript’s core elements. You look at things like plot, character arcs, pacing, and overall structure.

Rather than honing grammar or sentence flow, you ask yourself questions like the following:

• Does the story make sense?

• Are the characters fully developed?

• Is the pacing engaging throughout?

This type of editing looks beyond the words on the page to the overall structure of the story, strengthening it from the inside out.

Key Elements in Developmental Editing

One of the primary tasks in developmental editing is evaluating the plot and story structure. This means spotting plot holes or inconsistencies that might confuse readers and ensuring the story follows a clear, engaging path — with a strong beginning, a tension-filled middle, and a satisfying conclusion.

Subplots are also examined to make sure they contribute meaningfully to the main story and don’t feel like distractions.

Next, character arcs and development are examined. Characters should feel dynamic and authentic, growing or changing in response to the story’s events. You want characters who have motivation and act consistently to create believable personalities that resonate with readers.

Pacing and flow are also critical factors. A story that drags risks losing readers’ interest while one that rushes may feel chaotic or unclear. You can assess the balance between action, dialogue, and description to maintain momentum and keep readers hooked. The right pacing builds tension and highlights emotional beats effectively.

Finally, developmental editing checks the manuscript’s overall cohesiveness and thematic clarity. This means ensuring the story’s tone and style align with the intended genre and audience, themes are woven consistently throughout, and there are no repetitive or redundant sections that stall the story.

Biggest and Hardest Step

Developmental editing is the first step in the writing process that you shouldn’t skip. It helps you see your manuscript from a different viewpoint and strengthen the story.

But for me, this stage is the hardest. It’s knowing what parts of the story are great and what parts aren’t, then cutting the parts that don’t help the story. Knowing the cut parts help make my story better makes it worthwhile.

Have you ever gone through a developmental edit? Whether you’re self-editing or working with an editor, I’d love to hear what part was the most challenging or most rewarding. Leave a comment or hit reply and let’s talk editing!

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As I’m working on the meet cute in my latest sweet small-town romance, I’m reminded of just how special this scene truly is. From my perspective, it’s the most important moment in the book. It’s when your characters first cross paths—full of possibility, nerves, and that little spark that hints at what’s to come.

Getting it just right sets the tone for the entire story. And if it falls flat, there’s a good chance readers won’t keep turning the pages.

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3 Tips to Help with Meet Cute

If you’re polishing a meet cute of your own, here are three tips I’m using to make sure the scene feels full of chemistry and completely believable.

1. Highlight the Small Moments

I find the magic lives in the details—a nervous glance, a quirky habit, a small gesture. When you focus on these tiny moments during editing, you invite readers to see your characters as real people and to sense why they might be attracted to each other.

For example, in my story, the female main character is working at a café when the male lead walks in. They haven’t seen each other in 25 years. Her hand shakes as she holds the coffeepot. It’s just a small motion, but it’s one that carries so much emotion.

2. Balance Tension and Warmth

Meet cutes work best when there’s a gentle mix of tension and tenderness. Maybe there’s an awkward misunderstanding or a flicker of connection that takes them both by surprise. Weaving these feelings together creates a scene that’s both engaging and heartfelt—and one that invites readers to fall in love with your story.

3. Stay True to Your Characters

Sweet romance often embraces familiar setups, but your meet cute should still feel fresh and grounded in your characters’ world. During revisions, delete anything that feels forced or cliché. Instead, focus on dialogue and reactions that reflect who your characters are and how they’re uniquely drawn to each other.

Need Help with Your Meet Cute?

Your meet cute isn’t just an introduction. It draws readers into the heart of your story. If you’re still shaping yours, take your time, experiment, and find what feels most genuine. Your readers will be glad you did.

And if you'd like an extra set of eyes on your meet cute, I’d love to help. After all, every great romance deserves a memorable beginning.

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Do you ever feel overwhelmed when it comes to editing your novel? Or maybe you’re working on your first draft and have no idea where to begin?

I could answer yes to both of those questions.

Before I self-published my first book back in 2013, I had no clue what I was doing when it came to editing. I didn’t have the budget to hire a developmental editor, so I did the best I could with what I knew. Over time, though, I’ve learned a lot.

Several years ago, I started following Sarra Cannon, and I learned more about writing and editing from her than anyone else. Her YouTube editing series walks you through her process step by step, and it changed the way I edit my own books.

Having that list in front of me keeps me on task and focused. Are you ready to make your own editing checklist?

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Why You Need an Editing Checklist

I use lists for everything—groceries, personal tasks, my author business, freelance work. Editing is no different. Here's what a checklist does for you:

• You catch more mistakes and bad habits

• You stay focused and on track through long projects

• You create a consistent editing experience every time

• You save time by avoiding repeated passes over the same material

Even if you think you’ve got it all in your head, you will feel less overwhelmed. A checklist keeps everything in one place so nothing gets missed.

Start With a General Framework

Start by building a basic template that includes the major types of editing:

• Developmental: big-picture story issues

• Line editing: voice, flow, clarity

• Copyediting: grammar, style, and punctuation

• Proofreading: final polish

This framework becomes your foundation, something you can adjust for every manuscript. You'll never have to start from scratch again.

Make It Easy to Use

You don’t need a fancy tool. A simple Google Doc, Word file, or Notion board works just fine.

I personally love checking things off a list. There’s something so satisfying about marking things off as I go. It also helps me track progress when I’m editing in short chunks of time.

Keep It Flexible

As you figure out what works for your editing process, your checklist will change. You’ll remove things you don’t need and add things you tend to miss. Keep it up to date so it stays useful.

Want a Free Checklist Template?

I’ve put together a free Google Doc version of my customizable editing checklist. You can copy it and make it your own. Click here to grab your copy.

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Finishing a draft—whether it’s a book, blog post, or article—is a huge accomplishment. But writing is only the first part. The real magic happens during editing.

In this week’s post, you’ll find the following:

• The Four Main Stages of Editing

• ProWritingAid

The Four Main Stages of Editing

Editing isn’t just about fixing typos. It’s a multi-step process that helps clarify ideas, strengthen structure, and polish the final product so it’s clear, professional, and engaging. Whether you're working with an editor or revising your own work, it helps to understand each stage of editing and what it will do for your writing.

As a freelance editor, I’ve done editing and proofreading so I have a good understanding of the four main stages of the editing process. Here’s a breakdown of those areas:

1. Developmental Editing

Focus: Structure, clarity, and content

This is looking at the big picture. A developmental edit looks at the overall structure and flow of your piece. Are the ideas organized logically? Is anything missing or repeated? Are the tone and message consistent from start to finish?

At this stage, whole sections may be rewritten, moved, or even removed. It’s not about polishing the words on the page. It’s about making sure the plot is solid.

Tip: Step back and read your draft like a first-time reader. What’s confusing? What drags? What’s missing?

2. Line Editing

Focus: Style, voice, and sentence flow

Line editing works at the paragraph and sentence level. It’s about how things are said, not just what’s being said. The goal is to improve readability, strengthen tone, and make the writing smoother and more engaging.

This might involve rewording awkward phrases, trimming repetition, tightening language, and adjusting transitions.

Tip: Read your work aloud. If something sounds clunky, unclear, or flat, it probably needs fixed or reworded.

3. Copyediting

Focus: Grammar, spelling, and consistency

Copyediting deals with the technical side of language. This includes correcting grammar, punctuation, and spelling, as well as ensuring consistency in things like capitalization, hyphenation, and formatting.

It also makes sure the writing follows the appropriate style guide, if there is one.

Tip: Don’t skip this step—even if you think you’re good at grammar. Fresh eyes can catch things you no longer see. Again, read your work aloud. Many times you’ll catch those mistakes.

4. Proofreading

Focus: Final polish

Proofreading is the last stage before publication. It’s the final check for typos, spacing errors, missing words, and any little glitches that might have slipped through earlier rounds.

It doesn’t involve rewriting or reworking sentences. It’s about making sure everything looks clean and correct.

Tip: Give yourself a break between copyediting and proofreading. A little distance helps you see mistakes more clearly. You could even have Word or something else read your writing to you.

Editing takes time, but it’s worth it. Each stage builds on the last, bringing your work closer to a polished, professional final product. Whether you’re editing your own writing or working with an editor, understanding the process helps you approach revisions with confidence.

ProWritingAid

I’ve been using ProWritingAid for a couple of months now to help me with my own writing. In case you don’t know, I’m a sweet romance author.

I’ve found this tool to be helpful for the most part, especially when checking grammar and spotting passive voice. But I’ve also noticed it sometimes suggests changes that aren’t really necessary. That’s why I focus on specific areas I want to improve and leave the rest alone. Editing tools are a great aid, but they’re not a replacement for your own judgment.

Now that I’ve covered the four main stages of editing, what part of the editing process do you find the most challenging? Leave a comment below and let me know!

Leave a comment

And if you’re looking for a second pair of eyes on your work, I offer freelance editing services. You can learn more at Beach Girl Publishing or reach out anytime!

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I’m back!

And I’m ready to get back to sharing my knowledge of writing and editing. In this week’s post, you’ll learn about the following:

• My Journey into Editing

• What This Newsletter Will Cover

• What to Expect Next

My Journey Into Editing

In 2014, I started Beach Girl Publishing as my own publishing company and added my freelancing services to it. After several years of having people hand me a piece of writing and say, “Michele, proofread this for me,” I figured it was time to make some extra money doing what I loved.

But more than that, I genuinely love helping writers and authors improve their writing—whether it’s a blog post or a full-length novel. The joy of getting a big thank you from a happy client makes it all worthwhile.

Over the past several years, I’ve edited everything from sweet romance (I also write this!) to women’s fiction, historical romance, and cozy mysteries. I’ve also worked on blog posts, articles, and short nonfiction books, especially during my time on Fiverr. While I still have my account there, the work has slowed down quite a bit.

Romance is still my favorite, but I’m open to editing or proofreading almost any genre or type of writing.

What This Newsletter Will Cover

Just like before my brief hiatus, the types of posts you’ll see from me include:

• Editing and writing tips

• Q&As

• Writer resources

I love sharing useful tools and resources that I personally find helpful, and I’ll pass those along to you, too. My goal is to help writers and authors make their writing the best it can be.

I’ve learned so much since I started writing in high school, and I can clearly see how far I’ve come since publishing my first book in 2013.

What to Expect Next

I have a few topics I’m excited to share over the next couple of months, so stay tuned for those. At some point in the future, I may offer a paid tier with extra features—but this newsletter will always stay free.

Have a question about writing or editing? Or maybe there’s a topic you’d love to see me cover? Leave a comment below—I’d love to hear from you!

Leave a comment

And if you haven’t subscribed yet, I’d love for you to join my newsletter. It’s free for now. Make sure you hit the subscribe button and get my eBook called 10 Things You Should Know About Self-Publishing as a thank-you gift.

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For the past few days, I’ve been debating what to do with this Substack. I even asked for opinions—both in Substack Notes and in an author group I belong to—and the responses were mixed. But after thinking it over, I’m leaning toward what I’m about to say.

When I started my freelance writing and editing business back in 2014, I intended to make it a huge part of what I do. My ultimate goal has always been to work from home, giving me the freedom to travel more and live comfortably.

I had big plans—creating courses like a grammar refresher, expanding the nonfiction book I wrote (10 Things You Need to Know About Self-Publishing), and building a business that truly supported my writing career.

A Slowdown

But the editing side of my business has been slow. I’ve picked up a few jobs here and there, mostly through Facebook. In 2019, I had steady work on Fiverr, but things stalled in 2020. I suspect bots played a role, but I also haven’t put much effort into marketing my services.

Over the past few years, I’ve taken on occasional editing jobs and even joined Keele Publishing, where authors can get everything done in one place. I’ve also landed a freelance writing gig with an online indie publishing magazine. While I enjoy it, the magazine recently reduced its issues from six per year to four, and one of those is handled by the publisher.

Is the Joy Gone?

As I’ve gotten older, I’ve realized that some things no longer bring me joy. I’ve been following Sarra Cannon—both her Heart Breathings and author YouTube channels—and her videos have made me think about my own career.

So, is editing bringing me joy? It used to, and it does still help fund my own writing projects, which is why I take on work from time to time. But could I find other ways to support my books? Yes, for sure.

What about this Substack?

When I launched this Substack, I had planned to eventually offer a paid subscription. But what would I include? I don’t want to charge for these posts. They feel no different than a blog, but I don’t even have that on my website anymore.

Every week, I procrastinate writing a post for this Substack. I pressure myself to get something out, and in the end, it feels like I’m just slapping words down. The joy is gone.

Lately, all I can think about is my author business. That’s where my energy wants to go. So, for now, I’m taking a break from this Substack—at least until I finish and publish my WIP. I may or may not return to writing here, and I’ll make that decision in a few months.

Final Thoughts

In the meantime, I’d love to hear from you. Has this Substack been helpful? Have you learned anything new—even just a tidbit?

And one last question, if I ever did launch a paid subscription, what kind of content would you want in return? I’m not sure if I’ll go that route, but you never know.

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