But when you are looking for an editor, or discussing the type of editing you need, it can be useful to understand the difference between the different types of editing.

Broadly speaking, there are two types of editing – big picture editing (developmental editing) and sentence-level editing (copy/line editing). This blog post is talking about just developmental editing. See my editorial services page for a breakdown of everything covered in a copy/line edit.

When it comes to developmental editing, you might also hear people talk about:

• structural editing
• substantive editing
• manuscript critiques
• manuscript assessments
• manuscript evaluations
• manuscript appraisals

Sometimes these terms are used interchangeably. Sometimes editors use them to describe slightly different services.

While the terminology can be confusing, the underlying purpose is always the same: helping authors improve the overall effectiveness of their manuscript.

What Is Developmental Editing?

Developmental editing is an umbrella term to cover everything that can’t easily be handled at the sentence level.

Where copyediting and line editing focus on the words themselves (at sentence level), developmental editing looks at the bigger picture. It examines how the manuscript functions as a whole and whether it’s working for its intended readers.

This means looking beyond grammar, punctuation and sentence structure to consider things like plot, character development, pacing, narrative voice and reader engagement.

You might have read a book and felt that bits of it “just don’t work”, or “just don’t feel right”. You might have noticed that some characters feel a bit flat, and you aren’t particularly bothered what happens with them. This is where developmental editing comes in.

Developmental Editing asks:

• Does the story make sense?
• Are the characters compelling?
• Is the pacing working?
• Are there plot holes or convenient coincidences?
• Does the manuscript deliver on the expectations of its genre?

What Does a Developmental Editor Look At?

Every editor has their own approach, but I like to think about developmental editing in six key areas.

1. What?

Firstly, I look at the overall structure of the story.

I’ll look at whether the plot is working, whether there are any significant plot holes or convenient coincidences, whether any subplots are confusing or distracting, and whether the themes are clear and consistent.

2. How?

How does the reader experience the story? A technically correct story can still fail to engage readers.

This part of the analysis focuses on whether the manuscript is compelling, whether it maintains momentum, and whether it delivers the emotional experience readers are expecting from the genre.

3. Who?

What sort of characters are we spending time with? How has the characterisation been handled? This is often at the heart of a successful novel.

Here I’ll consider factors such as point of view, narrative voice, character differentiation, cast size and whether the characters feel distinct and believable.

4. Why?

Why should readers care? This feeds back into characterisation. Strong stories are built on characters having meaningful goals, facing conflict and dealing with tension.

Without these elements, even beautifully written prose can struggle to maintain reader interest (and this is when characters can start to feel a bit flat).

5. When?

This part of the review looks at how fast the book moves. Pacing is about much more than writing short chapters, and faster isn’t always better!

Developmental editing looks at the flow of events, timeline consistency, story momentum and whether key story beats occur at the right moments.

6. Where?

Where does the story happen? This covers setting and world-building (which can play a huge role in reader immersion).

Whether the novel is set in a cosy British village, a fantasy kingdom or a distant galaxy, the setting needs to feel convincing and support the story being told.

What Is the Difference Between a Developmental Edit and a Manuscript Critique?

This is where things often become confusing. I’ve called developmental editing an “umbrella term”. This is because there are two main types of developmental editing. One is called (confusingly!) a Developmental Edit, and one is called a Manuscript Critique.

Both services review the same things, and both services produce a written feedback report.

The main differences are:

• the depth of analysis
• how feedback is delivered
• how much collaboration is involved

A full developmental edit typically involves a comprehensive written report, detailed comments throughout the manuscript, extensive feedback on specific sections and a greater degree of ongoing discussion between editor and author.

A manuscript critique includes the same comprehensive written report, but doesn’t include marking up the entire manuscript and tends to involve less back-and-forth between the author and the editor. That’s not to say that there is no editorial support after the feedback report has been sent – just that there tends to be slightly less of it.

For many independent authors, a manuscript critique provides the professional guidance they need at a more accessible price point.

Why I Prefer Manuscript Critiques

Over the years, I’ve offered different forms of developmental editing.

Early on, I provided highly detailed developmental edits with extensive comments throughout the manuscript, suggested rewrites and detailed explanations of how individual issues could be addressed.

While some authors found this useful, I discovered two things.

Firstly, producing that level of feedback required a huge investment of time, which made the service expensive.

Secondly, I found that many authors didn’t necessarily need hundreds of comments. What they really wanted was a clear explanation of what wasn’t working and practical advice on how to fix it.

Today, my developmental service takes the form of a manuscript critique.

I read the manuscript, analyse it across the key developmental areas, and identify the most important issues that are holding the book back. Rather than overwhelming authors with every possible observation, I focus on 3-5 main areas that will make the greatest difference.

The result is a detailed report containing actionable feedback that authors can apply during revision.

Why Does Terminology Matter?

One of the biggest challenges in developmental editing (by which I mean the umbrella term!) is scope creep.

Stories can almost always be improved further. There is rarely a clear finish line. And that’s why it’s important for both editor and author to understand exactly what’s included right from the start.

Whether you call it a developmental edit, manuscript critique or manuscript assessment matters far less than making sure everyone understands what they’re getting.

Clear expectations create clear boundaries, and clear boundaries help the editing to run smoothly.

Is Developmental Editing About Telling Authors What To Do?

Every suggestion made in a developmental report is just that – a suggestion.

Yes, my feedback is based on my professional experience, but it’s also informed by my interpretation of the manuscript. Another editor might have a different perspective.

Authors remain in control of their books at every stage. My role is to highlight opportunities for improvement, identify potential issues and offer professional guidance, but ultimately it’s entirely up to the author if they choose to take this feedback on board.

There is absolutely no judgement from me when an author chooses to go their own way. It’s their book, and it’s their baby, and if they are happy then I am too.

If you are looking for developmental editing support for your novel, please do get in touch!

The post What Is Developmental Editing? appeared first on MandaWaller.

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.

So how can an author find a reputable editor – one who is going to provide them with the service they’ve paid for? There are several steps, and none of them are onerous or costly.

1. Is an editor a member of a professional organisation?

This is a quick and easy step to vet an editor. Most countries have their own professional editorial organisations – for example, the EFA (Editorial Freelancers Association) and ACES in the US, and the CIEP (Chartered Institute of Editing and Proofreading) in the UK. I’m an Advanced Professional Member of the CIEP. This means that I’ve had to prove I’m competent, professional and committed.

2. Ask an editor to provide a sample edit

Sample edits are a great way to see how an editor works, and are particularly useful as an author can see how this relates to their own text.

They help authors really understand precisely what the editing process involves, and exactly what they are getting for their money. They also demonstrate how an editor communicates – are they professional and friendly or do they come across as pushy and controlling?

Many (not all) editors will offer a sample edit for free. If an editor charges for a sample edit, this is not necessarily a red flag – sample edits take time and care, and it’s only fair for editors to charge for their time.

3. Ask fellow writers for a recommendation

Asking fellow writers for a recommendation is an excellent way to avoid being scammed by an editor – and it’s quick and free.

Of course a personal recommendation is always valuable, but it’s also true that different people click in different ways, and an author still needs to check they are happy with what is being offered.

4. Check out an editor’s website

Most editors will have a website, and this is where they will be championing their services. Looking at a website should help an author work out precisely what is being offered, and help them get a feel for how an editor works.

My hope is that my website comes across as friendly and approachable, as this is how I work. Other editors might have a more formal tone – and this is fine too.

Websites might contain testimonials (which obviously are a good thing), an indication of previous jobs (although sometimes an editor can’t talk about previous work if they’ve signed a NDA for example) and might list an editor’s prices.

5. Check out an editor’s social media posts

Social media posts will demonstrate how an editor communicates and interacts with others – but note that not all editors use social media, and it’s not a red flag if they aren’t on there.

I spend a lot of time interacting with other editors on social media as this helps me build my editorial support network. Seeing how an editor interacts with other editors can be a valuable insight into how they are perceived by their peers.

6. Use some free tools to vet an editor

The Alliance of Independent Authors Watchdog Desk is free to use. It monitors service providers, contests, awards and publishing trends, offering ratings, reports and a directory of approved partners.

Another website to check is the Writer Beware service. It’s sponsored by the Science Fiction and Fantasy Writers Association in America – but it’s not restricted to SFF or the US.

The Writer Beware website provides warnings about common schemes, scams, and pitfalls (there are sections on literary agents, vanity publishers, vanity anthologies, small presses, independent editors, contests, self-publishing, writers’ services, and copyright, as well as a page of writers’ alerts, a series of case studies of defunct scams, and our famous Thumbs Down Agent and Publisher Lists), advice on how to avoid them, and links to helpful online resources.

Questions to ask an editor as part of the vetting process

1. Are you a member of a professional organisation (like the CIEP)?
2. Can you provide testimonials?
3. Can you give me a list of books that you’ve worked on?
4. Can I see a sample of your work?
5. Are you on social media?

FAQs about how to vet an editor

1. Is the editing profession regulated?

No, it isn’t. However, an editor can elect to join a professional organisation – and this demonstrates their credibility.

2. Is it a red flag if an editor wants to charge for a sample edit?

No, it isn’t. Some editors (like me) provide sample edits for free. Other editors, who are also reputable, have decided to charge for their sample edits. This is just a recognition of how long a sample edit can take.

3. Do editors charge a deposit or booking fee before they start work?

Yes, most of us do. This just provides us with some reassurance that an author will be sending the manuscript as agreed – and gives us a buffer if we suddenly find ourselves without work when an author changes their mind.

In Conclusion

It doesn’t take long to vet an editor. An author should be able to spot the editing scammers, and find all those reputable editorial professionals who are just waiting to help them! I’m always happy to hear from new authors looking to have their manuscript edited, so please don’t hesitate to get in touch.

The post How to Vet an Editor and Avoid Being Scammed? appeared first on MandaWaller.

But what is free indirect speech, why does it matter, and how does it improve reader engagement?

What Is Free Indirect Speech (FIS)?

Free indirect speech is a narrative technique that blends direct speech (what a character says) and indirect speech (what the narrator reports). Instead of clearly marking thoughts or dialogue with quotation marks or reporting verbs, free indirect speech slips into a character’s mind while maintaining the narrator’s voice.

For example:

• Direct speech:
  “I can’t believe he left me,” Kay said.
• Direct thought:
  “I can’t believe he left me,” Kay thought.
• Free indirect speech:
  How could he have left her? How dare he? After everything she had done!

Notice how the last version feels more immediate. We’re in Kay’s head, but the narration still flows naturally. The result is intimacy without breaking the rhythm of storytelling.

Why Writers Use Free Indirect Speech

Writers use FIS to create a closer bond between the reader and the character. It does several things at once:

• It keeps narration fluid while sneaking in personal thoughts.
• It allows for subtle shifts between an outside perspective and inner emotion.
• It helps avoid clunky tags like “she thought” or “he wondered”.
• It mirrors real human experience – we don’t narrate our own thoughts formally, we just think them.

This technique is especially powerful in novels where you want your characters to be accessible and easy to read – such as YA, for example.

How Free Indirect Speech Enhances Reader Engagement

How does FIS get readers properly engaged?

1. It Builds Emotional Connection

When readers can “hear” a character’s inner voice, they empathise more deeply. Instead of being told that a character is sad, angry, or delighted, we feel it in real time.

2. It Improves the Flow

Rather than pausing the story with clunky phrases like she thought that…, FIS slides naturally into the character’s perspective. The pacing stays smooth, keeping readers hooked.

3. It Feels Natural

We rarely experience life in neatly packaged sentences. Our minds skip, judge, and exclaim. FIS captures that messy reality, making characters feel more human.

Examples of Free Indirect Speech in Action

Let’s look at some made-up examples to see how it works.

• Direct speech: “This house is enormous,” Tom said.
• Direct thought: “This house is enormous,” Tom thought.
• FIS: This house was enormous!

Here’s another:

• Direct speech: “I’m not nervous,” Mia whispered.
• FIS: She wasn’t nervous. Not nervous at all.

These examples show how FIS pulls us inside the character’s mind without breaking narrative immersion.

Practical Tips for Writers

If you’re a writer looking to use FIS, here are some strategies:

1. Keep an eye on quotation marks. They signal direct speech, which might break the effect.
2. Use the character’s vocabulary. Narration should slip into their voice – a teenager’s inner thoughts will sound different from a professor’s.
3. Blend seamlessly. Don’t announce thoughts with “she thought”. Just let them emerge in the flow.

Common Pitfalls to Watch Out For

Like any technique, free indirect speech can be misused. Be mindful of these traps:

• Overuse. If every sentence slips into a character’s head, readers may lose track of the bigger picture.
• Confusion. Make sure it’s clear whose perspective we’re inhabiting – otherwise readers get disorientated.
• Tense. The tense of the FIS needs to match the tense of the narrative. So if your novel is written in the past tense, the free indirect speech needs to also be in the past tense. If it was direct thought, it would be in the present tense, the same as dialogue.

Why Readers Love It

Readers may not consciously recognise FIS, but they feel its effects. They stay engaged because:

• The narrative feels alive.
• Characters feel real, flawed, and relatable.
• The reading experience feels immersive – almost like eavesdropping on someone’s thoughts.

In other words, FIS gives readers exactly what they want: a chance to step into another consciousness and see the world differently.

Final Thoughts

Free indirect speech is one of the most powerful tools a writer can use to engage readers. By blending narration with inner voice, it creates intimacy, immediacy, and subtlety. Don’t forget that your editor can help you to include more free indirect speech in your writing. If you want more information, please don’t hesitate to get in touch!

The post Free Indirect Speech: The Secret to Reader Engagement 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.

What is Head-Hopping in Fiction Writing?

Head-hopping refers to the sudden shift in a story’s narrative point of view from one character to another within the same scene or paragraph. It’s like watching a tennis match – your reader’s attention is yanked back and forth, making it hard to stay immersed in the story.

For example:
Sarah smiled, pleased with her presentation. It had gone well, she thought.
John, sitting across the room, watched her smug smile. Jeez, that woman was overconfident. He shifted uncomfortably in his chair.

In this small except, we’ve leapt from Sarah’s thoughts to John’s. While it might seem efficient to show both perspectives, this will get in the way of your readers really investing in your characters, may add confusion, and will affect the emotional impact of your words.

Why is Head-Hopping a Problem?

1. Reader Confusion

Switching between characters’ perspectives without warning can disorientate readers. They may have to reread sections to understand whose thoughts they’re following, which breaks immersion.

2. Emotional Disconnect

When you’re constantly hopping between minds, you lose the chance to deeply connect with any one character. Readers want to live in a character’s shoes, not juggle multiple viewpoints at once.

3. Narrative Inconsistency

Head-hopping can create inconsistencies in tone or pacing, pulling readers out of the story – reminding them that they are being told a story, not living it alongside your characters.

How Head-Hopping Differs from Multiple POVs

It’s essential to distinguish head-hopping from stories with multiple POVs. While both involve exploring the perspectives of different characters, the key difference lies in execution:

• Head-Hopping: Shifts happen abruptly within a single scene or paragraph, often without warning.
• Multiple POVs: Each character’s perspective is contained within its own chapter or scene, giving readers clear cues about whose head they’re in, allowing them to spend proper time with each character.

Example of Effective Multiple POVs:

Chapter 1: Sarah’s POV
Sarah smiled, pleased with her presentation. It had gone as well as possible, she thought.

Chapter 2: John’s POV
John shifted uncomfortably in his chair. Sarah was definitely overconfident, but he admired her bravery.

Clear breaks ensure smooth transitions and maintain reader engagement.

How to Avoid Head-Hopping

1. Stick to a Single POV Per Scene

Commit to one character’s perspective at a time. If Sarah’s POV drives the scene, stay in her head and show John’s reactions through her observations:

Sarah noticed John shifting uncomfortably in his chair. Was he nervous about the presentation?

2. Use Scene Breaks for Transitions

If you want to switch perspectives, use a scene or chapter break to signal the shift. This gives readers a moment to adjust and keeps the narrative clean.

3. Master the Art of Subtle Observation

Show other characters’ emotions or reactions through body language, dialogue, or actions instead of diving into their thoughts:

John’s jaw tightened, and his gaze darted to the floor. Sarah couldn’t tell if he was annoyed or anxious.

When Can Head-Hopping Work?

While head-hopping is generally discouraged, some skilled writers pull it off seamlessly. The key lies in clarity and purpose. For example:

• Omniscient Narration: Classic authors like Jane Austen and Tolstoy use omniscient narrators to provide a bird’s-eye view of their characters’ thoughts and actions. The shifts feel natural because the narrative voice guides the reader.
• Fast-Paced or Experimental Fiction: In some stories, especially those with a chaotic or experimental style, head-hopping can enhance the storytelling. Just be sure it’s intentional and adds to the narrative rather than detracting from it.

Tools to Help Manage POV

1. Outline Your Scenes

Before diving into a scene, decide which character’s POV will dominate. What do they know, see, and feel? This helps you stay grounded.

2. Colour-Code Your Draft

Assign a colour to each character’s POV and highlight their sections in your draft. This visual cue can help you spot accidental shifts.

3. Beta Readers and Editors

Enlist trusted beta readers or professional editors to catch unintended head-hopping. A fresh set of eyes can spot inconsistencies you might miss.

A Final Word on Head-Hopping in Fiction Writing

Head-hopping isn’t inherently evil, but it’s a risky technique that requires finesse. For most writers, sticking to a single POV per scene or using clear transitions is the safest way to keep readers engaged. If you’re tempted to experiment with head-hopping, make sure it serves your story and doesn’t leave your readers with narrative whiplash.

If you’d like to chat about having your novel edited, please do contact me. I’m always happy to answer questions.

The post Head-Hopping in Fiction Writing: How to Avoid Reader Whiplash 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.

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.

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