What can you do about this? Do you need to rewrite your whole manuscript, or can you retrofit omniscient narration? What is omniscient narration? How can it help fix head-hopping? And why is head-hopping a problem?

Head-hopping is where you swap point of view characters in the middle of a chapter, paragraph or even sentence. It’s problematic because your readers won’t know which character they need to engage with and root for – however, you really are not alone, and this is something I see a lot of, particularly with newer authors.

When an author sits down to write a novel, ideally they need to cement two things in their minds before they begin: what tense they are writing in, and what point of view they are using (by which I mean, whose perspective is the story being told from?). These two considerations are quite difficult to change once the novel is finished.

Ideally, if you realise you have an issue with point of view, you should rewrite the entire manuscript. This is the cleanest way to address the problem. However, if you don’t have the time or the energy for a complete rewrite, with some skill and attention you can reshape the head-hopping into something more deliberate: omniscient narration.

Below, I’ve outlined four tools that you can use to retrofit omniscient narration.

Firstly, what is an omniscient narrator?

The most important thing to remember about an omniscient narrator is that they have their own voice, personality and perspective – and they know all things about all events, places and characters. Effectively, they are a character (just one who doesn’t necessarily appear in the story).

So if you have chosen to write an omniscient narration, ask yourself:
– Who is the omniscient narrator here?
– What do they look like?
– What do they sound like?
– What is their interest in this story?
– Why are they telling it to us?

This will help to establish the narrator’s personality.

Once you’ve established the narrator’s personality, it should be possible to frame the story from
their point of view. They need to be re-telling the story, but also interpreting it, and guiding your
readers from one scene to another.

1. Scene-shifting / simultaneous action

One issue with head-hopping is that it can feel like a reader is being pulled from one place to another, without anything to guide them or to connect the two. There’s no framework to support the narrative. This is where omniscient narration excels.

Omniscient framing often moves us from one scene to another using transitions that widen the lens, that pull us right back from the action and give us an overview (using words like “meanwhile…”, “elsewhere…”, “unbeknownst to…”)

Some examples:
– “Elsewhere, far beyond the mountains, a storm was gathering that none of them could yet see.”
– “At that very moment, across the ocean, she made a decision that would change his fate.”
– “While he celebrated his victory, his enemies quietly regrouped in the shadows.”

With all these examples, the narrator is giving the reader a broader view than they would get with strict third person narration.

When to use this tool to retrofit omniscient narration

Tool one (scene-shifting) works well at the start of a scene or chapter.

2. Dramatic irony (reader knows more than characters)

This is another way to reinforce that there is an all-knowing entity telling the story. Try using phrases like:
“Unbeknownst to her, the letter had…”
“He believed he was alone, but someone had been watching from the doorway all along…”
“They thought the danger had passed; in truth, it had only just begun.”

This gives readers a sense that the story is being told by an observer – an observer who knows more than the characters do. This is true omniscience!

When to use this tool to retrofit omniscient narration

Tool two (dramatic irony) can be added throughout your manuscript.

3. Multiple character perspectives

Switching between characters needs to be done carefully – again, you need to imagine the narrator is telling you about the people in a room. They would have their own interpretation of each character’s actions. For example:
“John felt certain he had done the right thing, but Maria, watching from across the room, saw only betrayal.”
“To the crowd, it was a triumph; to the king, it was the beginning of the end.”
“She heard kindness in his voice, though he was already planning his departure.”

If you’ve written your novel in third person limited, and have been told that you’ve done a lot of head-hopping then it’s likely that you will already have some character shifts like this in your novel. The difference is that now you have framed the narrative from an omniscient point of view (with scene shifting and dramatic irony).

When to use this tool to retrofit omniscient narration

Tool three (multiple character perspectives) can be added throughout your manuscript.

4. Time shifts / foreshadowing

I’ve already mentioned narrative distance (see tool 1, scene shifting, above). This playing with narrative distance gives your readers a sense of a cohesive overview. You can pull back even further, and imagine that your narrator is telling the story from a point in the future, where they can see the implications of the actions unfolding on the page way before the characters in the story are aware of them.
For example:
“What none of them realized was that this small moment would ripple through generations.”
“History would later remember this day as the turning point.”
“In years to come, they would all look back on this night with regret.”

Try using phrases like:
“He would not understand the significance of this meeting until much later.”
“This was the last time they would ever speak.”
“Soon, everything they knew would be gone.”

When to use this tool to retrofit omniscient narration?

Tool four (time shifts / foreshadowing) works well at the end of a chapter or scene.

In Conclusion …

If you can see there’s an issue with slipping in and out of different characters’ points of view, and if the feedback you are getting from beta readers or an editor is that your manuscript lacks cohesion, think about retrofitting omniscient narration.

It’s not the cleanest solution, but it can work when the tools above are applied with care.

If you are still uncertain about the point of view in your novel, and don’t know if it’s really working, please do get in touch. I’d be delighted to help.

The post 4 Tools to Retrofit Omniscient Narration 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.

1. Word Count Shapes Everything

One of the most obvious differences is word count. A short story typically sits anywhere from 1,000 to 7,500 words, with flash fiction coming in even leaner and novelettes pushing the upper edge. A novel, by contrast, usually starts around 60,000 words and can comfortably climb past 100,000 depending on genre. (See graphic below for more details on word counts – and note that different sources cite different numbers!)

The different word counts force choices. In a novel, you have the option to explore ideas – to pause for some backstory, to let scenes breathe, to take the scenic route to add depth. Although there is no space for indulgence in either option, it’s even more important for a short story to ensure that every single word counts. Each sentence must either move the story forward or deepen the reader’s understanding in a tangible way – and ideally they should do both.

2. Fewer Characters, Sharper Focus

Short stories tend to work best with a limited cast. One central character is common, two or three is manageable, and anything beyond that is going to dilate the impact. Novels, on the other hand, can afford characters who exist primarily to complicate the protagonist’s journey or reflect different facets of the theme.

This means that when writing a short story, characters often arrive on the page already formed. There’s no room for lengthy introductions or gradual development arcs. Instead, writers rely on implication – a gesture, a line of dialogue, a single decisive action. In a novel, character development is cumulative. Readers get to know people over time, through repetition and change, rather than instant clarity.

3. Subplots – Less Is More

Subplots are another major dividing line. A novel can juggle multiple narrative threads, weaving romance, rivalry, mystery and personal growth into a single story. Those subplots add texture and momentum, giving readers reasons to keep turning pages.

A short story rarely benefits from more than one plotline. In most cases, the story is about a single moment of change or revelation. Adding subplots adds clutter to an already small space. The power of short fiction comes from concentration – one problem, one emotional core, one turning point.

4. Hit the Ground Running

Short stories demand that the reader hits the ground running. There’s no warm-up chapter, no gentle easing into the world. The opening paragraph has to establish tone, context and tension almost immediately. This is why short stories often begin right in the middle of the action or emotional conflict (also known as in medias res).

Novel openings still matter, of course, but readers will have a little more patience. A writer can spend time establishing the setting or hinting at what’s to come. In short fiction, the setup needs to be brief and efficient. If the reader doesn’t feel anchored within the first few paragraphs, the story risks losing them entirely.

5. Short stories vs novels – Compression of Time and Space

Short stories typically cover a compressed timeframe – a single day, an hour, even a few minutes. Novels can span years or generations. This compression affects technique in subtle ways. Scenes in short stories often double up (or triple up) on purpose, carrying plot, character and theme all at once.

Settings work the same way. A short story might take place in one room or one street, while a novel can span the world. When you’re writing short, you choose details that resonate. One carefully chosen object can replace a full paragraph of scene-setting.

6. Endings Without Full Resolution

One of the most liberating differences is the ending. Short stories don’t necessarily need to resolve everything neatly. In fact, many of the most memorable examples end on an image, a line of dialogue or a moment of realisation that leaves the reader thinking.

Novels generally promise a stronger sense of closure. Even if every question isn’t answered, the central conflict is usually resolved in some way. Short stories can end with ambiguity, trusting the reader to sit with uncertainty, to imagine what happens next.

7. Reader Expectations and Emotional Impact

Readers approach short stories and novels with different expectations. A novel is a commitment. Readers settle in, ready to invest time and attention. A short story is more like a sharp conversation – intense, focused and often emotionally concentrated.

This changes how you handle emotional beats. In a novel, emotions can rise and fall gradually. In a short story, the emotional arc is steeper. You’re often aiming for a single, resonant impact rather than a sustained journey. That’s why short stories linger – they hit hard, and they stay with the reader for days to come.

Short Stories vs Novels – Key Takeaways

Writing short stories is excellent training for novelists. It sharpens your sense of economy and teaches you to trust implication over explanation. Writing novels, meanwhile, helps short-story writers understand structure on a larger scale and avoid under-developing ideas that need more space.

Neither form is easier or harder – they’re simply different. Understanding those differences allows you to choose techniques that serve the story rather than fighting against the limits of the form.

I edit short stories and novels, from vignettes and flash fiction under 1,500 words, through short stories and novellas, right up to sweeping epics that clear 200,000 words – if you are looking for an editor, please do get in touch.

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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.

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.

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.

But what is romantasy exactly? Is it romance? Is it fantasy? Is it both? (Spoiler: yes!)

The Lovechild of Romance and Fantasy

Romantasy is a genre mash-up of romance and fantasy. It blends the epic world-building and imaginative magic of fantasy with the emotional stakes and relationship connections of romance.

Think of it as the best of both worlds – dragons and desire, kingdoms and kisses, swords and smouldering looks.

In romantasy, neither element plays second fiddle. The romantic arc is just as central as the fantasy plot. That means you’re getting magical adventures and love stories in a one-stop shop. 

Why Is It So Popular Right Now?

Romantasy has been around in various forms for years, but it’s really hit the mainstream in the last few years thanks to platforms like TikTok, Instagram, and Goodreads.

It combines escapism (and who doesn’t love some of that?) with high stakes, delivering entire worlds filled with castles, curses and chosen ones. It’s not just “will they/won’t they?”, it’s “will they complete the quest, reclaim the throne and fall in love?”

It also provides a load of opportunities to reimagine some of the traditional romance tropes.

What Makes a Book Romantasy?

How is romantasy different from a fantasy book with romantic elements, or a romance with fantasy elements? To really fit the label, a story needs to check a few boxes:

1. Balanced Blend of Romance and Fantasy

The romance isn’t just background fluff – it’s central to the plot. Likewise, the fantasy world is rich, immersive, and full of its own rules.

2. Character-Driven Plot

While traditional fantasy leans heavily on external conflict (wars, quests), romantasy also zooms in on relationships and emotional stakes.

3. Emotional Depth

Romantasy tends to elicit intense feelings – longing, betrayal, joy, heartbreak. 

Popular Romantasy Books:

New to the genre and wondering where to start? Here are some of the best-selling reads:

• A Court of Thorns and Roses by Sarah J. Maas – Think Beauty and the Beast meets political fae drama.
• Fourth Wing by Rebecca Yarros – A war college, dragons, and a love interest with secrets.
• Direbound by Sable Sorensen – If you liked Fourth Wing, you’ll love this!

Have you Written a Romantasy?

I specialise in editing books in the romance and fantasy genres, and have added romantasy to this list. If you’ve written a book in any of these genres, and would like to have it edited, please get in touch!

The post What is Romantasy? A Beginner’s Guide to the Genre Everyone’s Talking About appeared first on MandaWaller.