When you’re building a world full of invented cultures, magic systems, creatures and political structures, it’s tempting to capitalise everything that feels Important.

But the truth is that using too many capital letters can make your prose look very cluttered, and it frequently brings emphasis to the wrong words.

So how do you decide when an invented word in your story should be capitalised?

A surprisingly useful trick is to imagine your fantasy language has been translated into ordinary English.

If the English version would normally have a capital letter, then your invented word probably should too.

If it wouldn’t, then you should probably leave it lower-case.

The “translated into English” test

When readers encounter unfamiliar terminology, they rely heavily on context. Capitalisation helps signal whether something is a proper noun – a specific place, title or group – or just a general concept.

A good rule of thumb is to ask yourself: “If this was a normal English word, would it be capitalised?”

For example:

• The Order of the Silver Star – yes, because it’s a specific organisation.
• Queen Alara – yes, because it’s a title used with a name.
• the northern kingdoms – probably not, unless it’s an official political entity called the Northern Kingdoms.
• magic – no, because it’s a general concept.

Now apply that to invented terms.

If you create the word thalren to mean a type of magical energy, it probably shouldn’t be capitalised.

But if the Thalren are a specific religious order devoted to that energy, then capitalising the group name would make sense.

In other words, the rule isn’t about whether a word is invented. It’s about what role it plays in the sentence.

A common capitalisation mistake

Here’s the kind of sentence you often see in early drafts of fantasy novels:

Kael drew on the Ancient Power of the Eldren Flame as the Guardians of the Crystal Path prepared to defend the Western Gate from the Shadow Beasts.

Nearly every concept has been capitalised. The result is visually cluttered and difficult to follow.

Readers start wondering whether each capitalised word represents something specific they should remember – and this in turn increases cognitive load which will slow them down. Effectively, it’s a barrier to reader enjoyment.

A cleaner version might look like this:

Kael drew on the ancient power of the Eldren Flame as the guardians of the Crystal Path prepared to defend the western gate from the shadow beasts.

Now only the genuinely specific terms remain capitalised.

You might even reduce it further, depending on how those terms function in the story.

Why using too many capitals hurts your writing

Over-capitalisation causes several problems.

1. It creates visual noise. A page filled with capitalised nouns looks dense and intimidating, especially for readers who are still learning your world’s terminology.
   
   
2. It confuses hierarchy. Capital letters signal importance. If everything is capitalised, readers can’t easily tell which terms actually matter.
   
   
3. It breaks immersion. Instead of smoothly absorbing the story, your readers will stop to wonder whether a capitalised word is a Proper Thing that they need to remember. In other words, using too many capitals accidentally turns your prose into a glossary.
   
   
4. It’s quite shouty! When I read in my head, I read capitalised words more loudly. Which means a Sentence With A Lot of Capitals Ends up Being quite Shouty.
   

Fantasy readers are used to new vocabulary. What they need is clarity, not constant signalling that a word is special.

When capitalising made-up words does make sense

Capital letters are useful when they indicate something that’s clearly defined or unique within the world.

Common examples include:

• Named organisations
• Official titles when used with names
• Specific places
• Historical events
• Cultural or ethnic groups

For instance:

• the Council of Nine
• High Marshal Ren
• the Ashen Desert
• the War of Broken Crowns
• the Valeri

These follow the same patterns already used in everyday English.

If your world has a king, that’s lower-case.

If it’s King Ardan, that’s capitalised.

Your invented terminology should behave the same way.

Capitalising made-up words in fantasy and science fiction: A simple rule

When deciding whether to capitalise an invented word, ask yourself three quick questions:

1. Is this a specific, unique thing rather than a general concept?
2. Would the English equivalent normally be capitalised?
3. Will capitalisation help readers understand the hierarchy of my world?

If the answer to those questions is no, leave the word lower-case.

Your readers don’t need capital letters to know your world is important. The story will convince them of that far more effectively.

And ironically, the fewer capital letters you use, the more powerful the remaining ones become.

In fantasy writing, restraint often makes your worldbuilding feel more real – not less.

Still confused about capitalising made-up words in fantasy and science fiction novels? Please get in touch – I’d be delighted to help.

The post Capitalising Made-Up Words in Fantasy and Sci-Fi Writing appeared first on MandaWaller.

If you’re a novelist looking to bring your story to life, it’s important for you to learn about playing with narrative distance. Playing with narrative distance may sound like an abstract term, but actually you can just think of it as a camera lens that zooms in and out, allowing you to reveal your imagined world from both a closeup and a pulled back perspective.

What is narrative distance?

Narrative distance is the space between your readers and your characters. In some moments, you’ll want your readers to be right next to (or even in the shoes of) your characters, letting them see what they are seeing, hear what they are hearing, smell what they are smelling, and even give them access to what your characters are thinking. At other times, you might pull back and look at the bigger picture, giving your reader a wider sense of the world around them, or a sense of distance from a situation.

The best part? By learning how to play with this narrative distance, you can enhance your storytelling and control the emotional tone of your scenes.

Zooming In: Getting Close to Your Character

When you zoom in on your character, you’re getting so close that you can feel their emotions, sense the world around them, and even hear the thoughts racing through their mind. This deep connection allows your reader to become immersed in the character’s inner world, creating intimacy and empathy, and ensuring your readers are really invested, and really engaged.

So, how do you pull off this technique? Here are a couple of ways:

1. Focus on Sensory Details:

Describe what the character is experiencing through their senses. What are they touching, seeing, smelling, or hearing? When you zoom in, these details will feel more immediate and personal. Take care not to use filter words like heard, saw, observed, realised, felt. The example I always give is this:
He heard a dog bark – this is telling your readers that your character can hear a dog bark.
A dog barked – this is showing your readers that a dog is barking, and lets them hear it for themselves.

2. Use Deep Point of View/Free Indirect Speech

Instead of narrating events from a distance, let the character’s voice dominate. Free indirect speech (FIS) lets your character’s thoughts flow directly onto the page, blending the point of view character’s thoughts with the narrative.

For example:
He wondered whether it was going to rain or snow, and couldn’t work out what was going on with the weather. This is telling us that the character is wondering what is going on. This is distant – it’s being described to us.
“What is going on with the weather?” he wondered. “Is it going to rain? Or snow?” This is closer, showing us what he is thinking, using direct thought.
What on earth was going on with the weather? Was it going to rain? Or snow? This is really up close – you are inside the character’s head, experiencing his inner dialogue.

This makes readers feel like they’re experiencing everything right alongside your character, in real time.

Zooming Out: Creating a Broader View

When you zoom out, you shift your focus away from your character’s personal experience and move it to the world around them. This technique is great for providing context or setting the scene, or moving things on quickly using a summary of events. You can reveal the landscape, describe a bustling city street, or show how your character fits into a bigger picture. By pulling back, you allow your readers to see how everything connects.

Here are some methods to zoom out effectively:

1. Shift to a Larger Scope

Instead of focusing on the character’s immediate emotions, show the setting, the environment, or the larger conflict at play. This gives the reader a bird’s-eye view of what’s happening.

2. Multiple Points of View

If you’re writing in third person, switching to a different character’s perspective can offer a more detached view of the situation. You might show how your main character’s actions fit into the greater plot, or how others are reacting to the same event.

3. Use Abstract Descriptions

Rather than describing things from a personal perspective, you can make use of broader, more abstract descriptions. For instance, instead of saying “She was nervous,” you might describe the stormy weather or the sense of unease in the room.

Example showing the difference, using a Romance/Fantasy extract

Firstly, zoomed out:
The evening air was crisp, with a hint of magic that hung in the wind. Tall, dark trees stretched out over the path, their branches almost seeming to whisper in the fading light. The world around her felt both vast and unknown, as if time itself had stopped for just a moment.

And then zoomed in:
The cold air bit at her skin, but it was the magic that sent a shiver down her spine. Her heart raced, maybe from the chill or maybe from the strangeness that lingered in the air – something ancient, something powerful. She reached out, fingertips brushing the rough bark of the nearest tree, and for a brief moment, the whispering winds seemed to speak directly to her.

Why Does Narrative Distance Matter?

Why you should bother with all this shifting of perspective? Using both close and wide narrative distances allows you to control how your reader experiences your story. Close-ups build tension, emotional depth, and connection, while wide shots offer a sense of scale, context, and anticipation.

This is especially important when your novel involves complex emotional journeys (romance; romantasy) or grand, sweeping adventures (fantasy; romantasy; sci-fi). By manipulating narrative distance, you can heighten the emotional stakes in romantic scenes or make the fantasy world feel larger and more immersive.

How to Use Narrative Distance in Your Writing

If you want to play with narrative distance in your fiction, try writing the same scene using both techniques. Start with a zoomed-in, deeply personal moment, and rewrite the scene, giving your readers a bigger perspective by pulling the camera back. This will help you learn how to switch between the two as you write, enhancing the experience for your readers.

Whether you’re writing the first kiss of your romantic fantasy, or the moment your character realises their destiny, changing your narrative distance will help you craft a more dynamic and engaging story.

Final Tip for Playing With Narrative Distance

Don’t be afraid to experiment with these techniques within one scene. You don’t have to stick to one narrative distance throughout a scene or a chapter. The beauty of storytelling is that you can zoom in for those intimate moments and then pull back to reveal the bigger picture. Your readers will thank you for it! If you’d like support with your manuscript please do get in touch.

The post Playing with Narrative Distance appeared first on MandaWaller.

Many authors are advised to “observe the conversations” around them, and properly analyse how we communicate. This is partly excellent advice, and partly terrible! Below I will explain what I mean, and provide suggestions for writing realistic dialogue in your novel.

Observe Real Conversations

One of the best ways to learn how people talk is to really listen.

Next time you’re on a bus, sitting in a café, or waiting in a queue, tune in to the conversations around you. Notice the rhythm of speech, the way people overlap, interrupt, trail off, and jump between topics. Watch their gestures too – how one person rarely talks for long without doing something: stirring their coffee, checking their phone, rubbing their hands together, or glancing at the clock.

These small, physical beats (known as action beats) are pure gold for a novelist. They bring dialogue to life because they remind the reader that your characters are human beings, not disembodied voices floating in the void. When someone speaks, they’re almost always doing something else too.

You might hear something like this:

“I told him I’d— No, hang on, let me just … yeah, I said I’d sort it tomorrow, but he, well, he’s not exactly patient, is he?”

That sounds real because it is real. There’s interruption, hesitation, and movement. But how well would that translate onto the page? Is it engaging? Is it dull? Is it too realistic?

Why Real Dialogue Doesn’t Work on the Page

Here’s the thing: real conversation is actually quite dull to read.

When we talk in real life, we fill our speech with ums, ahs, “you know”s, and “like”s. We repeat ourselves, lose our train of thought, talk over each other, and meander off-topic. That’s fine in real life – it’s how we communicate – but on the page it’s painful.

Try transcribing an actual conversation and you’ll see what I mean. It’s messy, repetitive and full of filler. Readers don’t want to slog through that. They want the essence of natural speech, not a literal representation of it.

So when you write dialogue, you need to loosely base it on real conversations, but be careful to leave out the bits that are neither furthering the plot nor improving characterisation.

The Art of Polished Realism

The goal is to create dialogue that feels real but reads beautifully. This is a true art form, and it’s not easy. Here are some suggestions to help you pull this off:

1. Cut the filler

You can skip the “hello”, “how are you?”, “good thanks, and you?” unless those pleasantries reveal something about the relationship between characters. Otherwise, jump straight into the meat of the exchange. Readers will thank you.

2. Use interruptions and pauses

Real people rarely let others finish entire paragraphs before responding. Add interruptions, hesitations, and unfinished thoughts to give a natural rhythm. Just don’t overdo it – too many dashes and ellipses can be distracting.

“I didn’t mean— well, you know what I meant.”

“No, actually, I don’t.”

That kind of back-and-forth creates energy.

3. Add action beats

Break up dialogue with action beats. These serve multiple purposes, and are essential for good dialogue. They can:
– indicate who is speaking (because whoever did the action said the words)
– provide information about the surroundings (he brushed snowflakes from his shoulders)
– add depth to characters (she stopped to catch her breath. Damn, she was unfit.)

“I told you already,” she said, twisting the ring on her finger.

Those small gestures are powerful because they show emotion without spelling it out.

4. Keep each voice distinct

Every character should sound like a unique person. Think about background, education, region, age and temperament. One character might be blunt and clipped; another might ramble or use metaphors. You don’t need to rely on heavy dialect or slang (see here for why not) – subtle differences in rhythm and vocabulary often do the job far better.

Balancing Realism and Readability

The sweet spot lies somewhere between authenticity and clarity. Your dialogue should sound plausible – as though real people might say it – but still be interesting and easy to follow.

When writing dialogue, ask yourself:

• Does this line reveal character or move the story forward?
• Is there a simpler or sharper way to say this?
• Could this be shown through action instead of speech?

Final Thoughts on Realistic Dialogue

Realistic dialogue is less about mimicking reality and more about capturing its rhythm and truth. It’s the illusion of authenticity that counts. By observing how people speak – their interruptions, their gestures, their half-finished thoughts – and then editing ruthlessly for clarity and flow, you’ll craft engaging dialogue that feels natural.

You might also be interested in looking at my other blog posts that talk about dialogue.

If you would like support with editing your novel, please do get in touch.

The post Realistic Dialogue is Tricky! appeared first on MandaWaller.

As a fiction editor, I spend a lot of time helping authors refine their point of view. It’s not just a technical choice. It’s the lens through which readers experience your story.

Point of view is about picking the narrator(s) and then picking the way you will handle their voice (first person, second person, omniscient etc.).

What is Point of View in Fiction?

Point of view in fiction simply means the narrative perspective – the position from which your story is told. It’s like choosing a camera angle for a film. Do we stay close to one character’s head? Do we pan across multiple characters? Or do we step back and take the bird’s-eye view?

Understanding POV is essential because it controls:

• What information readers have access to
• How close readers feel to characters
• The tone and intimacy of the narrative

The Main Types of Point of View in Fiction

Once you’ve picked which character is going to be telling the story, you need to decide how this POV character will be handled. There are several ways to categorise this, but here are the three big ones fiction writers use most often.

1. First Person POV

This is when the narrator is a character within the story, using I or we. For example: I never thought I’d survive that night.

• Pros: Intimate, immediate, emotional. Readers feel like they’re inside the character’s shoes, experiencing events in real time.
• Cons: You can only show what that character sees, hears and knows. If your character doesn’t know something (or hasn’t seen something) then neither can your readers. It can feel limiting if your story is big in scope.

2. Third Person Limited POV

Here the narrator uses he, she, or they, but the story is filtered through the perspective of one character at a time. Example: She tightened her grip on the letter, heart pounding.

• Pros: Offers closeness to a character, but with a little more flexibility than first person.
• Cons: You still can’t reveal anything outside the chosen character’s knowledge – unless you switch viewpoints (which is absolutely possible but needs careful handling).

3. Third Person Omniscient POV

The all-knowing narrator. This voice can dip in and out of characters’ minds, provide commentary, and reveal information the characters themselves don’t know.

• Pros: Huge scope, great for sweeping, multi-generational stories.
• Cons: Very tricky to pull off and can feel distant/disconnected if not handled well. Modern readers often prefer a tighter perspective.

Common POV Mistakes (and How to Avoid Them)

As an editor, these are the slip-ups I see most often:

Head-Hopping

This happens when the narrative jumps from one character’s thoughts to another character’s thoughts in the same scene without warning. Readers get dizzy trying to keep up.
Fix: Stick with one character’s perspective per scene or chapter.

Inconsistent Distance

Sometimes the writing zooms into microscopic detail (a character’s heartbeat), then suddenly zooms out to godlike commentary, all within a few lines.
Fix: Choose your distance deliberately and maintain it, unless there’s a clear reason to shift.

Forgetting Limitations

If you’re writing first person or third person limited, your character can’t know what others are secretly thinking. This is called dropped point of view.
Fix: Remember that POV is a filter. Everything is seen, heard, or inferred by the viewpoint character.

How to Choose the Right Point of View for Your Story

When working out which POV to use, maybe consider the following questions:

• Whose story is this really? If the answer is one strong character, consider first person or third person limited.
• Do you want intimacy or distance? For intimacy, go close. For scope, go wider.
• How much information do readers need (and when)? If big reveals hinge on limited knowledge, keep the POV tight.

Remember, there’s no universal “best” choice. The right POV is the one that serves your story’s needs.

FAQs About POV in Fiction

1. What is the easiest POV for beginners?

Many new writers start with first person because it feels natural – like journaling. But third person limited is often easier to sustain over a whole novel, since it gives you slightly more flexibility.

2. Can I switch POVs in a novel?

Yes, but do it with intention. Many novels use multiple viewpoints, but ideally each switch should happen at a clear break – such as a new chapter – so readers don’t feel pulled out of the story.

3. Is second person POV ever a good idea?

Second person (using you) is rare in fiction, but it can be powerful in experimental or literary work. For commercial fiction, it’s usually a tough sell.

4. Why does POV affect my writing style?

Because the narrative perspective shapes word choice, sentence structure and tone. A child narrator will describe things differently to an omniscient voice. POV isn’t just about pronouns – it’s about mindset.

Final Thoughts: POV as Your Story’s Lens

Point of view in writing isn’t just a technical choice – it’s the emotional gateway for your readers. A tight first person draws them in really close to your main character, while an expansive omniscient voice lets them see the world from above.

If you don’t know which POV to pick, you could try writing the same scene from different perspectives. You might find that one way is much easier to write, and this will bring more energy to your narrative.

Please do get in touch if you have any questions!

The post Point of View in Fiction: A Guide for Novelists appeared first on MandaWaller.

So, you’ve just written the words “The End” on the final page of your novel, and are now wondering if your manuscript is ready for professional editing. Firstly, give yourself a huge pat on the back. Getting to the end is a huge achievement. Many people dream of writing a book, but far fewer see it through to a complete draft.

Hiring an editor is an investment, and you’ll get the best value from that investment if you send your manuscript at the right point. In this post, I’ll walk you through the signs that your novel is ready (and the signs it’s not quite there yet).

Why Timing Matters for Novel Editing

Professional editing isn’t about handing over a rough pile of words and expecting someone to “fix” it for you. Instead, think of editing as a collaboration. You bring the story – the heart and the voice and ideas – and your editor helps you shape it into the best possible version of itself.

If your manuscript is too early in the process, you risk wasting money on feedback you could have given yourself with one more round of self-editing. If it’s too polished, you may have overworked it and lost some of your original spark. The sweet spot lies in between.

Step One: Have You Finished a Full Draft?

It might sound obvious, but you’d be surprised how many writers want to start the professional editing while still midway through chapter twelve. A professional line edit or developmental edit is done on a complete manuscript. Until you’ve reached “The End”, your story is still in motion. And an editor can’t meaningfully assess a book that hasn’t fully unfolded.

Please note that although editing is done on a completed draft, you should probably start looking for an editor well in advance of this! Many of us book up months in advance, so as soon as you think you might be needing an editor at some point, please do get in touch!

So, first checkpoint: have you finished a full draft, beginning to end? If not, and you think you need editorial support, then you are best off looking for a book coach (also known as a writing coach) rather than an editor.

Step Two: Have You Revised It Yourself?

Finishing a first draft is brilliant, but let’s be honest: first drafts are usually messy. They’re where you figure out your characters, test plot twists, and often leave notes to yourself in square brackets like [insert something clever here]. That’s perfectly fine.

But before an editor sees it, give your manuscript at least one good self-edit. Here’s what to look for:

• Plot holes: Does the story make sense from start to finish?
• Consistency: Do your characters behave in line with their personalities? Does the setting stay consistent?
• Unnecessary repetition: Have you said the same thing in three different ways? (See my blog post about redundancy.)
• Basic typos and formatting: Don’t worry about perfection, but tidy up obvious errors. Listening to your manuscript out loud can really help with this.

A self-revised draft doesn’t have to be flawless, but it should be coherent and readable.

Step Three: Have You Had Some Distance from It?

Editing your own work is difficult when you’re too close to it. Every writer knows the feeling of reading the same sentence fifteen times and still not noticing a missing word.

That’s why it’s wise to step away for a little while before considering professional editing. A gap of even a few weeks can give you fresh perspective. When you return, you’ll spot things you couldn’t see before – and those revisions will save you time (and therefore money) when the editor comes in.

Step Four: Have You Shared It with Trusted Readers?

Before hiring a professional, it can be extremely useful to get feedback from beta readers or a writing group. They’re not a substitute for an editor, but they can highlight glaring issues such as confusing passages, flat characters, or pacing problems.

If you’re brave, ask your readers: where did you lose interest? That one question often reveals far more than general “I liked it” feedback.

Once you’ve absorbed those comments and made adjustments, your manuscript will be in a much stronger shape for an editor’s eye.

Signs Your Novel Isn’t Ready Yet

Sometimes it’s easier to recognise when you’re not quite there. If any of these apply, it may be worth another round of self-work before seeking professional editing:

• You know there are still missing scenes or unresolved subplots.
• You’ve only skimmed through for typos without addressing deeper issues.
• You feel reluctant to share it because “it’s not very good yet”.
• You secretly hope an editor will “rewrite” the book for you.

Remember, editing is about refinement, not rewriting.

Signs Your Novel Is Ready for Professional Editing

On the other hand, you’re probably ready if:

• You’ve completed at least one solid draft and revised it yourself.
• You feel you’ve taken it as far as you can on your own.
• You want an objective, expert perspective.
• You’re excited (even if slightly nervous) about feedback.

That last point is key – readiness often shows in your mindset. If you’re open to collaboration and willing to hear constructive criticism, you’ll get so much more out of the editing process.

What to Do Before Sending It Off

If you’re ticking the “ready” boxes, there are a few practical steps before hitting send:

1. Format consistently. Use a simple font (Times New Roman or similar), double spacing, and page numbers. Editors don’t need fancy layouts. If you don’t know how to do this formatting, don’t worry – your editor will adjust it for you.
2. Save a backup. Always keep a copy of your original file (but please don’t work on it while your manuscript is with your editor – having two version in play at once gets very messy very quickly!).
3. Write a short synopsis. It helps your editor see the big picture.
4. Be clear about your goals. Are you aiming to pitch agents, self-publish, or just improve as a writer? Your editor can tailor feedback accordingly.

Frequently Asked Questions About Novel Editing

1. How many drafts should you write before hiring an editor?

There’s no magic number, but most authors go through at least two or three drafts before seeking professional editing. The first draft is for getting the story down, the second is for fixing plot holes and character arcs, and the third is often where you refine prose. Once you feel you’ve taken the manuscript as far as you can on your own, that’s usually the right time to bring in an editor.

2. Should you hire a professional editor before querying agents?

In most cases, it’s wise to have your novel professionally edited before submitting to agents. Agents expect a high level of polish, and a well-edited manuscript has a far better chance of standing out in a crowded slush pile.

That said, agents (or publishers) may well choose to edit your manuscript once they have taken you on, so you might prefer to opt for an agent teaser edit. This looks at just the first 10,000 words (which is what most agents will be looking at when deciding to offer you a deal) – meaning you have something clean and sparkly to send off for querying, but haven’t spent more money than you need to.

3. What’s the difference between developmental editing and line editing?

Developmental editing looks at the big-picture elements of your novel including plot, structure, pacing, and character development. Line editing, on the other hand, focuses on the sentence-level details: tone, flow, word choice, repetition, grammar, spelling, punctuation, and clarity. Many authors start with developmental editing to strengthen the story itself, then move on to line editing once the narrative is solid.

4. Can editors fix a bad novel?

An editor can do wonders for your story, but they’re not ghostwriters. If the manuscript is unfinished or fundamentally not working, an editor will guide you with constructive feedback, but the heavy lifting still comes from you. Editing is about refining and elevating your work – but you remain in charge of your words.

And finally…

If you aren’t sure whether you are ready to have your novel edited, please do get in touch. I’m always happy to answer your questions! I also offer a manuscript appraisal service which involves me reading your manuscript and recommending the level of editing that will help your writing the most.

The post How to Tell If Your Novel Is Ready for Professional Editing: A Guide to Novel Editing appeared first on MandaWaller.

Why Use Grunts, Groans, and Verbal Tics in Dialogue?

Listen to the conversations going on around you. How often do you hear a completely smooth conversation without a single hesitation or filler word? Real speech is messy. Including grunts, groans, and verbal fillers in your dialogue can:

• Add authenticity: Realistic speech makes characters relatable.
• Reveal emotions: A sigh can convey sadness, frustration, or relief without needing a long description.
• Show hesitation or discomfort: An ‘uh’ or ‘um’ can reveal a character’s uncertainty or nervousness.
• Break the monotony of perfect speech: Perfectly polished dialogue can feel artificial, especially in informal settings.

The Fine Line Between Realism and Overkill

By including grunts, groans, ums, ahs and ers, you will add depth to your characters and create dialogue that’s more natural and engaging. However, it’s crucial not to overdo it. Excessive grunts and fillers can frustrate readers and bog down your story. As with so many things, balance is key.

Do:

• Use verbal tics sparingly to emphasise important moments.
• Match the tone and personality of the character.
• Vary your approach across different characters.

Don’t:

• Overload dialogue with sounds to the point where it becomes unreadable.
• Use the same filler repeatedly for multiple characters.
• Let fillers overshadow the actual dialogue.

How to Write Grunts and Groans in Dialogue

Grunts and groans are fantastic tools for expressing emotion, but be careful to use them consciously.

1. Match the Sound to the Emotion

Each sound has its own emotional resonance:

• Grunts: Indicate frustration, effort, annoyance or disgust.
  • Example: He heaved the heavy crate into the truck. ‘Ugh,’ he muttered, smelling his armpits.
• Groans: Suggest pain, reluctance, or exasperation.
  • Example: She groaned. ‘Do we have to?’ she asked, dragging her feet. (Note that in this example, ‘groaned’ is not a dialogue tag. Do you think it’s possible to groan a whole sentence?)
• Sighs: Convey relief, sadness, or resignation.
  • Example: She exhaled a long sigh. ‘I guess you’re right.’

2. Describe the Sound

If a simple ‘ugh’ or ‘pffft’ doesn’t seem to provide enough detail or you’re worried your readers might miss the nuance, you can always use verbs like ‘she huffed’ or ‘they grunted’ to give readers context.

• Example: He let out a low, guttural grunt, the kind that said ‘I’m too tired for this.’

3. Use Onomatopoeia (But Wisely)

Onomatopoeia – words that imitate sounds – can add flair to your writing. Stick to common spellings and avoid getting too creative with sound effects.

• Good: Hmm. Ugh. Huh?
• Overkill: Hnnnnnngh. Grraaaargh. Ploooop.

Also remember that if you want to elongate a sound, make sure you stretch the right part of the word. So argh becomes aaaaaargh, and not arghhhh.

4. Tailor Sounds to Each Character

Just as people have unique voices, they also have unique verbal habits. Your stoic, no-nonsense detective might grunt to express annoyance, while your chatty teen might lean on ‘umm’ when stalling for time.

• Example:
  • Detective: ‘Hmph. Not much of a lead, is it?’
  • Teenager: ‘Um, I mean, like, I guess?’

Writing Ums and Ers: Filling the Gaps

Verbal fillers like ‘um’ and ‘er’ are excellent for showing hesitation or thought processes. However, these need to be handled carefully or they can really, like, become, er, irritating.

1. Keep It Natural

Think about how people use fillers in real life. They usually indicate:

• Searching for the right word.
• Stalling for time.
• Feeling nervous or unsure.
• Example: ‘I, um, think we should go this way?’

2. Limit Their Use

While fillers can make dialogue realistic, too many can frustrate readers. Use them sparingly and purposefully.

• Overdone: ‘So, um, I was, uh, like, thinking, er, maybe we could, um, you know, go?’
• Balanced: ‘So, um, I was thinking maybe we could go?’
• You can also use ellipses to good effect: ‘So… I was thinking maybe we could go?’

3. Vary the Placement

Don’t always stick fillers at the beginning of a sentence. Mix things up for realism.

• Example:
  • ‘Um, I think we should wait.’
  • ‘I think we should, um, wait.’

Using Body Language Alongside Sounds

Grunts, groans, and verbal fillers often go hand-in-hand with body language. Pairing them creates a richer, more vivid scene.

• Example:
  • Sound only: He sighed. ‘Fine, I’ll do it.’
  • Sound + body language: He sighed, running a hand through his hair. ‘Fine, I’ll do it.’

You can see how adding body language makes the moment feel more alive and grounded.

Avoiding Common Pitfalls

When writing grunts, groans and fillers, keep these tips in mind to avoid common missteps:

1. Don’t Overuse Sounds for One Character

If every line of dialogue includes an ‘uh’ or ‘ugh’, it will quickly become annoying. Diversify your character’s speech patterns.

2. Avoid Confusing Spelling

Stick to commonly understood spellings for sounds. Overly creative spellings can confuse readers and pull them out of the story.

• Example:
  • Simple: Pfft
  • Confusing: Pffffffffffthhhhhhhht

3. Balance Realism with Readability

While real-life speech is full of fillers and sounds, when writing a novel you need to make sure that every word counts. Aim for a balance that feels natural but doesn’t overwhelm (or annoy!) the reader.

In Conclusion: Making Your Dialogue Sing (and Groan!)

Grunts, groans, ums, and ers might seem like minor details, but they play a big role in creating realistic, engaging dialogue. When used thoughtfully, these sounds can highlight a character’s emotions, show hesitation or thought processes and add authenticity and texture to your story.

Remember, though, that balance is key – a little goes a long way. If you’d like to chat about having your novel edited, please do contact me. I’m always happy to answer questions.

The post How to Write Grunts, Groans, Ums, Ahs and Ers in Your Novel appeared first on MandaWaller.

As with most things fiction, there are many ways to add emphasis to your writing, and there are no “rules”. However, there are conventions and – more importantly – reader expectations. And which method you choose can have an impact on reader engagement, which in turn will have an impact on your book sales.

Italics

A common way to add emphasis to your writing is to use italics. This is probably the first choice for many fiction authors, but there are a couple of caveats. Firstly, what else are you using italics for? Frequently, italics are used to indicate a character’s thoughts or inner dialogue, and they are often used for flashbacks or quoted text. Some authors still choose to italicise words that are not English (although this custom is becoming less common).

So be careful not to confuse your readers by using italics for too many different things.

Also be aware that large chunks of text in italics can be wearing on the eye, and italics doesn’t always translate well on e-readers.

CAPITAL LETTERS and Capital Initial Letters

Using capital letters does certainly bring emphasis, but it can also bring irritation. Frequently, readers see capital letters as a way of indicating that a character is SHOUTING. Which, in itself, is absolutely fine. However, a character who’s CONSTANTLY SHOUTING can undermine their credibility, and (worse), the credibility of your writing. When used judiciously, capitals can work well – particularly when just the Initial Letter is capitalised. Capitalising just the initial letter(s) adds a layer of importance, giving the word equal weight with a Proper Noun.

But again, capitals can get a little shouty, and again, they should be used judiciously.

Exclamation Marks!

Exclamation marks are used to indicate moments of high tension, drama and humour, and they are fantastic at indicating to your reader that they need to bring a degree of energy to the sentence they are reading.

However, it’s really hard to maintain a high level of energy for a prolonged period of time, so try to avoid having multiple consecutive sentences ending in an exclamation mark! Some readers are also irritated by the use of exclamation marks, and I always recommend they are limited where possible, and used only for really intense/dramatic moments. This can mean using exclamation marks only once or twice per chapter, or even once or twice per book.

Where a character is exclaiming something, then it’s only necessary to use either an exclamation mark, or the “she exclaimed” dialogue tag. Not both.

If overused, exclamation marks will start to lose their impact. So again, judicious use is recommended.

Interrobangs ?!

The combination of the question mark and the exclamation mark is known as an interrobang. The interrobang is a little like the baddum-tish at the end of a bad joke – it wouldn’t be necessary if the joke was better. Interrobangs are like a pumped-up exclamation mark that comes along to smack you in the face. If this is the effect you are looking for, then of course please go ahead. But if you want a more subtle emphasis, then definitely choose a different option.

Bold text and Underlined text

Publishers rarely use bold text in the body of a book – generally it’s reserved for titles and headings, and underlined text can make things look cluttered.

So how should you add emphasis to your writing?

Where a character is having an extreme reaction to something, this should be clear from the words they are using, the length of their sentences, the way their body moves and the way other characters are reacting to them.

When you want your reader to have a reaction to something in the text, the same conventions apply. Manipulate their responses using a different sentence structure – like this one – that brings emphasis to words or actions purely by the way it’s put together.

Show your readers moments of intensity with careful vocabulary and thoughtful writing craft rather than telling them about it with punctuation.

And if you do choose to use italics, capitals, exclamation marks or interrobangs, make sure to only use them one at a time. Avoid sentences that Include Capitals, WORDS THAT ARE ITALICISED, and that end in an exclamation mark! Because these are just plain irritating.

Don’t forget that your editor can help you with this as part of their line editing or developmental editing services, and please do get in touch with any questions.

The post How to Add Emphasis to your Writing appeared first on MandaWaller.

Equally, if you suddenly start describing things from another character’s point of view, this is called head-hopping. Head-hopping can result in your readers losing interest or engagement, and – even worse – it can become confusing.

You want your readers to fully engage with your characters – to love them or hate them, to want to be their friend or to loathe them with a passion. And to do this, you need to carefully manage the way you handle point of view.

But what about when something happens – that’s crucial for the plot – when the point of view character is absent? When they are unconscious, or asleep, or just somewhere else?

In this post I will give you some suggestions for how to handle the point of view character being absent, and demonstrate how to avoid head-hopping, but don’t forget that this is something your editor can help with, particularly if they offer developmental editing services.

Is the scene important?

The first question to ask when you find yourself writing a scene in which your point of view (POV) character is absent is whether the scene is actually critical. Every scene in your novel needs to have a purpose. It needs to advance the story and move the plot forward. Just adding character depth or interest is not a good enough purpose.

If the scene has no discernible purpose, delete it. There may be bits of prose you’ve spent hours agonising over, and sentences you are particularly fond of, but you can keep these and repurpose them in another scene.

Can your point of view character witness the scene, without being part of it?

Can your POV character be aware of the action, the events, the information being discussed, without actually being part of the scene?

Maybe they could be hiding in the hedge, watching through the foliage. In this example, they can obviously hear and see everything (or most things), so you can describe everything unfolding in front of them. There may be bits of the conversation that they can’t quite hear – and you can use this to your advantage if you want to mislead your character (and your readers).

Maybe they could be pretending to be asleep, overhear one side of a telephone conversation, or be hiding just outside the room and eavesdropping. In these three examples, the POV character can only describe what they can hear, so the narrative needs to reflect this. Don’t fall into the trap of describing visual elements too.

Can another character tell them about it later?

If major events happen when your POV character is absent, then another way to convey this information to your readers is for another character to report the events at a later point.

This can be done through dialogue – maybe your point of view character finds out that something important has unfolded, and interrogates a character who was present at the time. Maybe the details just come out naturally in conversation.

This way, your readers can know every detail witnessed by the character who was present. To add more twists and dimension, this character might be an unreliable witness, perceiving events through their own prejudice and assumptions.

Carefully construct a secondary point of view character

If none of the suggestions above quite match your intentions for the scene, then there’s the option of creating a second POV character. This means you can allow your readers full access to the events unfolding and provide them with your second POV character’s emotional response.

This is useful for portraying events which happened before your POV character was born (for example). To create a second point of view character, there are a few considerations to take into account.

Firstly, pick your character carefully. Ideally, this character needs to be central to the plot, but not appearing in many scenes. It would be incongruous to have just one chapter or scene from a character who appears throughout the book. Your readers will wonder why we only have access to them for the one occasion, and they are probably likely to see through this as a writing device.

Secondly, this second POV character needs to have their own scene. Jumping from your primary POV to your secondary POV within the same scene can easily descend into head-hopping (unless you are a seriously skilled wordsmith). Instead, use a section break (or, even better, a chapter break) to signpost to your reader that there has been a jump.

Thirdly, clearly and openly express that you are investing in a second POV character. It needs to be obvious from the very first sentence of this section that your readers are experiencing a different POV. This can be easily achieved by using their name as the first word in the scene:

James wasn’t happy with the way his life was going. Why did these things always happen to him? Had he been mean in a previous existence? Sometimes, he felt like he was wading through mud, just to keep still.
His shoulders tensed as he gazed out at the darkening day. A man – thickset and tall – was striding confidently towards the house. Was that a gun? Probably. Given the way his day was going, James was not at all surprised.
He ducked down beneath the sink. Please please make this all go away, he thought as something heavy hit the back door. Please don’t let me die today. I’m only thirty-two.
The back door flew open and James threw up his hands. “I surrender. Whatever it is you want, just take it!”
The intruder ignored him, marching past him into the hall and thumping up the stairs. What on earth did he want? “I haven’t got anything valuable,” James shouted. Which wasn’t true. He had the stones. And they were more valuable than gold.

In this example, we are firmly and instantly inside James’s head. Using free indirect speech (why did these things always happen to him?) rather than direct thought (Why do these things always happen to me? he thought) quickly brings the reader in really close and allows them an up close and personal relation with the new POV character.

Ideally, this new POV character should have a different voice from your main POV character. They should sound different – and I don’t mean give them an accent! Try using different sentence structures to indicate a different personality (perhaps they could be anxious and their narrative could be expressed in quick sentences, for example).

Switch Narrative Styles

It may be that you don’t have a character like James in your novel – who appears infrequently but is central to the plot. Maybe you don’t want to confuse your readers by developing a second point of view.

In this instance, you can draw the narrative viewpoint back to reveal just the observable evidence, and take away the emotion. Rather than create a three-dimensional character with thoughts and feelings, you can create someone who is only there to relay the facts.

To revisit the scene earlier where James is looking through the window and being sad about his existence:

A man – thickset and tall and carrying a gun – was walking confidently towards the house. James tried to hide, but it was useless as the back door burst open and the intruder marched in. “I surrender. Whatever it is you want, just take it!” James cried. The man pushed past him and stomped up the stairs. When he came back down, he was holding the stones. The stones that were more valuable than gold. And then, the man was gone.

In this example, there is no emotion. The scene is being described, really, from no one’s point of view. This omniscient lens results in detached writing which can allow you some freedom to describe scenes where the POV character is not present, but – because of the emotional detachment – this type of writing will not engage your readers.

It’s literally a description of events, with no perspective or emotional value added, so this narrative style should be used sparingly.

In conclusion

Take care with scenes that happen when your point of view character is absent. There are a number of devices you can use to avoid head-hopping, and when done carefully it’s perfectly possible to describe events that unfold without your POV character witnessing them. Don’t forget that your editor can help you with this as part of their line editing or developmental editing services, and please do get in touch with any questions.

The post When your Point of View Character is Absent appeared first on MandaWaller.

In this post, I’ll have a look at the key aspects of pacing and flow, and give you some tips to help you keep your readers hooked.

Pacing. What is it and why does it matter?

Pacing refers to the speed at which your story unfolds. It’s all about the rhythm of your narrative and how things move from one moment to the next. Think of pacing as the heartbeat of your novel—it dictates how quickly (or slowly) the plot develops and how much breathing space you give your readers between important moments.

Get the pacing wrong, and you’ll lose your readers.

If things move too slowly, your readers may get bored and – even worse – put the book down, never to finish.

On the other hand, if the pace is too fast, details may get missed, and readers may feel overwhelmed and disoriented.

Finding the pacing sweet spot is tricky. There needs to be enough tension and excitement to keep people turning the pages, but also enough time to give your audience space digest important moments, connect with characters, and understand the stakes.

Flow: The Secret to Smooth Reading

Flow is how effortlessly your story moves from one idea to the next. How well do your scenes transition? How clear is your prose? Are your readers being pulled out of the narrative by awkward phrasing or confusing shifts in time (or perspective).

You want your readers to enjoy the journey from beginning to end, almost without noticing that they are travelling.

If your story flows well, it’s much easier to manage pacing, because the transitions between scenes and chapters feel natural, helping to keep the momentum going. How do you edit your manuscript to improve pacing and flow?

Tip 1: Vary Sentence Length

An effective way to manage pacing and flow is to experiment with sentence length. Short, punchy sentences speed up the pacing, especially in action scenes.

For example: “She jumped up. The window was opening. Don’t think! Just run!”

The pace in this example is fast and frantic, adding tension and drama. If you described the same moment with long, winding sentence, the urgency would be lost.

Longer sentences slow things down. This can be a really useful tool when you want to give your reader some space from all the drama, or dive into more emotional, thoughtful scenes. Descriptive passages often benefit from a slower pace, allowing readers to take in the atmosphere or the character’s internal monologue.

For example: “The moon was full and round, sending silvery light across the ocean. He took a deep breath, feeling the tension slip from his heart, and turned to face his future.”

It’s also important not to use the same sentence length too much. Keep an eye out for things starting to feel repetitive or monotonous, and vary the rhythm to control how your readers experience the moment, whether it’s fast-paced action or slow reflection.

Tip 2: Cut the Fluff to Tighten Pacing and Flow

One of the most common pacing issues authors face is unnecessary fluff. Every word, paragraph, scene and chapter needs to service a purpose. Too much description, repetitive information, or dialogue that doesn’t move the plot forward should be trimmed or removed completely.

Ask yourself:

• Does this scene contribute to character development or advance the plot?
• Is this description necessary, or am I adding it just because I like how it sounds?
• Could I convey the same information with fewer words?

Have a look at my series of blog posts about tighter writing for more suggestions on how to implement this.

By cutting unnecessary words, you speed up the pacing and ensure each moment of your story has impact.

Tip 3: Use Scene Breaks and Chapter Endings Strategically

Another effective way to control pacing is through scene breaks and chapter endings. These act as natural pauses for readers, giving them a moment to process what just happened before jumping into the next part of your story.

However, scene breaks can also be used to create suspense. If you end a chapter or scene with a cliffhanger, this will encourage your readers to keep reading.

Use these strategic breaks to control the pacing—sometimes a quick scene break speeds things up, while longer scenes or chapters can slow things down when needed.

Tip 4: Make Sure Dialogue Is Snappy

Dialogue is a great tool for controlling pacing, but it can also be a pacing trap. If your characters are discussing the same thing for pages without moving the plot forward, the pacing will feel sluggish.

When editing dialogue, make sure each line has a purpose:

• Does it reveal something new about the character?
• Does it advance the plot or build tension?
• Could this exchange be shorter without losing its impact?

Snappy dialogue keeps readers engaged, especially during tense or emotional scenes.

Tip 5: Watch Out for Info Dumps

Info dumps—where you unload a huge chunk of backstory or exposition in one go—can seriously disrupt both pacing and flow. These sections can feel like a detour from the main plot, slowing down the action and overwhelming readers with too much information at once.

Instead, try to spread out backstory and exposition, weaving it into the narrative where it feels natural. Let readers discover information as they need it, rather than front-loading everything at the beginning.

This method keeps the pacing tight while giving readers the information they need in a way that feels immediate and relevant.

Tip 6: Keep Transitions Smooth

Finally, let’s talk about scene and chapter transitions. Abrupt changes between scenes can confuse readers and pull them out of the story. Check how each scene transitions into the next. Is it clear how much time has passed? Have you established the new setting or character viewpoint smoothly?

A simple time marker or setting shift can work wonders for keeping the flow smooth. For instance: “Later that afternoon, Richard went into the pub.”

Or: “When they arrived in Birmingham, it was already time for dinner.”

These small details (also called signposts) will help your readers to orientate themselves, making the transitions between scenes or chapters feel seamless.

Final Thoughts: Pacing and Flow Make All the Difference

It can be tricky to get pacing and flow right, but if you
crack it, your manuscript will feel more polished, the reading will be more
effortless and, most importantly, your readers will stay engaged, ensuring your
book doesn’t end up on the DNF [did not finish] pile.

The post Pacing and Flow: Editing Tips to Keep Readers Engaged appeared first on MandaWaller.

The Heart of Your Story: Why Characters Matter

Characters are at the very heart of your story. They drive the plot and make your readers laugh and cry. They connect your readers to the narrative. It doesn’t matter how sophisticated your plot is, without well-developed characters it’s going to fall short. A truly compelling character can elevate your book from good to excellent.

Know Your Characters Inside Out

Before you start writing, spend some time getting to know your characters. Create detailed character profiles. Include their background, personality traits, motivations, and even their quirks. Think about their childhood, their relationships with family and friends … the more you know about them, the more authentic they’ll feel.

Show, Don’t Tell

Showing rather than telling is particularly important when it comes to creating compelling characters. Instead of stating that a character is brave, show them in a situation where they have to face their fears. Use actions, dialogue, and internal monologues to reveal who they are. This approach not only makes your characters more believable but also engages readers more deeply.

Give Them Flaws

No human being is perfect, so neither should your characters be. Perfect characters can also be a little boring, whereas imperfections make them interesting and relatable. Give your characters flaws, weaknesses, and struggles. These human traits make them more relatable and provide room for growth and development. Think of Elizabeth Bennet’s prejudice or Harry Potter’s impulsiveness – these flaws make them memorable and endearing.

Develop Strong Motivations

Your characters need clear motivations that drive their actions and decisions. Think about what they want, but also think about why they want it, and what they are willing to do to achieve it. Characters with vague or weak motivations are less convincing, and fail to fully engage the reader. Strong motivations, by contrast, add depth and believability.

Let Them Evolve

Characters need to be changed by what they experience during your story. They need to evolve. Their experiences should shape them … and this transformation is what keeps readers invested. Whether it’s a hero overcoming their fears or a villain finding redemption, character arcs are essential for a satisfying narrative. Ensure your characters’ growth feels natural and earned, not forced or rushed.

Dialogue: Make It Count

Dialogue is a powerful tool for character development. Each character should have a distinct voice that reflects their personality, background, and motivations. Try not to make your characters sound the same. Can you tell who is speaking, just by the way their dialogue is written? Pay attention to their speech patterns (long or short sentences?), vocabulary (which may be dictated by their education), and tone. Well-crafted dialogue can reveal a lot about a character without needing to spell it out.

Conclusion: Keep Crafting Compelling Characters

Creating compelling characters is both an art and a science. It requires creativity, empathy, and attention to detail. As an editor, my job is to help writers bring their characters to life in the most authentic and engaging way possible. So, keep crafting, keep refining, and most importantly, keep believing in your characters. They are, after all, the heart and soul of your story.

The post Compelling Characters appeared first on MandaWaller.