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One of the most dreaded steps of writing a book isn't the actual writing. Ask just about any author, and they'll tell you it's the editing. In fact, the internet is rife with memes about it.
Like so:
We're such stalwarts of perfection that we want everything to be just right. Even if it means changing the same word a million (a billion?) times only to go back to the original word we had in the first place.
Whether you edit as you go or wait until your first draft is done, the process is pretty much the same, as is the purpose.
Why It's Necessary
Whether you're self-editing for publishing or cleaning up your manuscript before you send it over to your editor, the purpose is the same, though the extent you go through your manuscript may vary.
Sure, you want the cleanest story possible, free of grammatical and spelling errors. But you also want a story that hits the readers in the feels. That means the structure, characters, plot, and pacing need to all be on point.
Self-Editing vs. Manuscript Clean-up
Self-editing for publishing means the bulk of the clean-up falls on you. It's not recommended you go it alone, but in some cases, you may not have any other choice, and that's okay.
When you're cleaning up your manuscript for your editor, you want to give them the cleanest copy possible to cut down on the amount of work they need to do. While it's their job, they can and do charge a bit more for stories that need a heavy edit.
These Four Areas Need Your Focus First
Roll up your sleeves and let's get ready to dive into the nitty gritty of your book. When you're self-editing, there are four main areas to pay attention to. These areas are directly related to the big picture of your story. If any of them are inconsistent, they're going to weaken the story.
The best way to identify these areas is to read your book from start to finish.
Seriously.
Yes, I know you wrote it.
But, put it down, and then come back a few days later and just read it. Don't try to edit. Just read it as you would any other book. You'll be surprised at what you notice using this method.
Plot
This is your most significant area to pay attention to. The plot needs to make sense, and every scene needs to in some way advance it. Every story has its major plot, but most also have at least one subplot running throughout. You must wrap up each plot, no matter how small you think it is. Otherwise, you'll leave readers looking at the end of the book like "that's it? But what about xyz?"
If you have plot twists (oh my God, she did what?!), make sure those are tied up with a neat little bow. Also, look for plot holes, where something doesn't make sense or needs a solution.
Sometimes, plot issues arise when you pants your story, that is, write without an outline. These issues need to be fixed first and foremost before you move on to other areas.
Pacing
Pacing is how fast (or slow) your story moves. Ideally, you want it in the middle. Move too fast, and the readers will get lost. Move too slow, they'll get bored.
I'll be honest. In order to get an accurate read on this element, you will likely need to consult an outsider, someone not tied to your story. If you're skipping a developmental editor, I highly recommend enlisting the help of beta readers, but make sure they are well-versed in your genre.
Structure
Each story follows a specific structure, such as the Three-Act Structure, Save the Cat, or the Hero's Journey. It's important that your scenes match up with the story's structure.
Take romance, for example. Your first act is the building up of the story, and the second act is in the throes of the relationship, where the love interests face their challenges. The third and final act is the resolution. It may or may not include a break-up, but will end in either a happily ever after (HEA) or a happy for now (HFN) ending. That is absolute.
Characters
Your characters are so, so, so important. Why? Because if your readers cannot resonate with them, you're going to lose them. When you're evaluating your primary characters, the protagonist and antagonist, look for:
- Each one has a unique voice
- Proper development in the story arc
- Clear motivations in the story
- Consistent, realistic behavior
You will likely have secondary characters, too, but they should serve some purpose to the story. They should advance the plot and not show up just to have another face on the page. If they don't? Either invent a motive for them to be in the story, or take them out altogether.
Analyze Your Scenes
Once you've tackled the major areas of the book, it's time to look at the smaller elements, your chapters and scenes.
Hook 'Em and Leave 'Em Wanting More
Each chapter, and especially your first chapter, should hook the reader. That opening line needs to be killer. You've got one chance to make an impression with that first sentence. Make it count.
Go for the shock factor, the humor, or even the grotesque. Just make an impact.
Then… end on a cliffhanger. In the chapter, not the story, unless that's the goal.
Author note: If you do end the book on a cliffhanger, be very, very, very transparent with your readers, or prepare for a riot in the reviews section. They will bring pitchforks. They will haze you. They will be merciless.
Does It Make Sense to the Story?
Ever read a passage in a book and wonder what the heck it has to do with the story at hand? Yeah, me too. It's not a red herring, it's just confusing.
Don't do this to your readers. Every word, sentence, paragraph, and scene should make sense to the story. If you're left scratching your head or you get feedback from your alpha or beta readers that they can't figure out why it matters, it might be time to …
Kill Your Darlings
This isn't as macabre as it sounds, unless you're writing horror, of course, where you might be literally killing your characters off.
The term kill your darlings doesn't just refer to characters. It could be entire scenes, a sub-plot, or sentences that don't fit the narrative or serve the story.
I know what you're thinking: "but, my babieeess" (insert whine here). It hurts, but trust me when I say it's necessary. You want your book to be as tight as possible, without taking your readers down a side path that has nothing to do with the story at hand.
If you really hate the idea of deleting these scenes and sending them into the void, never to be seen or heard from again, keep them in a separate file. Then, maybe you can release them as outtakes, giving your readers an inside look at your writing process.
Dig Deep Into Your Dialogue
At some point during your story, your characters will interact with each other through passages of dialogue. It's an important part of the story, but there should be a balance. Too much dialogue and you'll bore your readers (seriously, we don't need to talk about the weather unless it's foreshadowing an event in the story). Too little dialogue and there will be too much narrative, which can be viewed as droning on and on and ... you get the point.
That said, your dialogue should serve a purpose. It should move the story forward in some way or provide pertinent information. Make sure your characters don't all sound the same. They should have unique voices that come across easily through reading.
And last, but not least, don't be too crafty with your dialogue tags. Using "said" is often enough. If you're trying to imply emotion behind it, use action beats—sentences that describe what your character is doing at the time—instead.
Look at Sentence Structure
Imagine if your sentences all started the same way. Or, if they were all long. Or short. The monotony would soon be enough to make your readers close the book.
Your sentence structure should vary. They should be a mixture of long and short, and not start with the same opening. Varying your sentence structure makes the reading flow much, much easier. Use hard stops if you need them, by all means. But don't make your story a series of hard stops or long, run-on sentences that would test even the strongest swimmer's breath capacity.
Last, But Not Least: Spelling and Grammar
Don't get me wrong. Saving spelling and grammar for last doesn't mean it's the least important. Quite the contrary. It just makes no sense to fix these if you're going to be altering other parts of the book first.
Make the major changes, then focus on the minute details like ensuring all of your character names are spelled right, no silly misspellings made it through the other stages, and your grammar is on point.
You can find many tools to help you find those pesky errors. It also helps to read passages aloud to identify areas that might otherwise slip through.
If Possible, Do Not Skip the Professional Edit
Self-editing can definitely help you fix up your manuscript after you've completed the first draft. However, it's no substitute for a professional who can help identify issues you might not have even thought of. Those with years of experience can wield their red pen faster than you can say "Bob's your uncle."
Yes, they can be expensive. But are they worth every penny? Also yes. If you can't afford one, reach out to another until you find one that fits your budget. Just be sure they are familiar with your genre. One might even offer payment plans. You never know until you ask.
There are solutions out there, and your book deserves its best chance to shine.
Need some tools to help you spruce up your manuscript before you publish or send it to your editor, or just want some feedback? See how Sudowrite can help you polish it up.