Tag: advice

Posts with this tag are identified by writer Cortni Merritt as related to advice and tips for writers and editors of traditional and self-published fiction and nonfiction.

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How to Write a Horror Novel: Tips for Scary Scenes

A dark-skinned woman with red eyes wearing all black on a red background stares menacingly into the camera.

Leave your readers with a proper fright after finishing your unnerving tale.

You’re writing your horror book, and everything is coming together nicely: The characters have depth and intriguing backstories; you’ve staked out a creepy setting; and your stalker, monster, cosmic entity, killer inanimate object, etc., is iconic and menacing. You have the components of a great story, yet can’t help but feel that something is missing. You begin to question if you know how to write a horror novel, until you read your manuscript, and only then does it hit you. You don’t feel… scared.

A spider on its web against a dark background with boca effect
Photo by kaboompics. Pexels.

The Importance of a Scare in Horror Story Writing

A well-constructed scare is as important as characters, setting, and plot in horror story writing. It adds bitter flavor, lingering with your readers long after they’ve flipped through the pages. Every ominous shadow in the corners of any room they walk into, strange bumps and thuds in the night, everyday objects that typically don’t frighten them—all because your book left a lasting impact. Tending to your scares with the love and care they deserve keeps your book faithful to the horror genre, and more importantly, makes your book memorable.

I previously compiled a list of excellent horror novel recommendations with bone-chilling scares that you may find useful!

Tip #1 to Write Horror: Find Your Subgenre

Before you begin sprinkling in jump scares or passages of shock and gore, consider the subgenre of your horror book, as each has its own types of scares. A paranormal story relies more heavily on suspense and unease, whereas a slasher leans into jump scares and bloodshed to frighten the reader. If you are struggling to pinpoint your subgenre, consider the following types of horror:

  • Paranormal: events, activities, and entities not scientifically explainable, e.g., ghosts or telekinesis 
  • Psychological: relating to the protagonist’s mind
  • Slasher: a killer or entity preying on a group of people
  • Gore and body horror: concerned with extreme violence and visceral experience
  • Monster: a creature or one’s transformation into one, e.g., werewolves, vampires, zombies

This article covers a more extensive list breaking down these subgenres further, but these are the broad ones worth considering for the sake of this process.

Tip #2 to Write Horror: Harness Fears Effectively

Now that you’ve identified your subgenre, we can look at the different types of fear. Each stroke of horror utilizes different fears, including fear of Death, fear of the loss of sanity, fear of loss of loved people or culture, or fear of pain. 

Consider two classics: Psycho, written by Robert Bloch, utilizes suspense and sudden violence to startle readers in small bursts, whereas The Shining, written by Stephen King, uses the same suspense to establish dread and anxiety that prolongs until erupting into chaos in its final pages. 

These two books reveal different approaches for how to write a horror novel by relying on different types of fear to frighten their readers. It’s crucial to have a solid understanding of your subgenre to know what fears work best. For example, a gore book sustaining the same suspense as The Shining won’t be as effective as one that prioritizes shock and disgust. (For more on how to use a fear of Death in horror story writing, check out this blog.) 

A young Black woman holds open a book and appears engaged with the text.
Photo by Ron Lach. Pexels.

It’s also worth cozying up with similar books and noting their structure. A suspenseful story may involve leaving a trail of unease throughout, and thus requires a different editing approach than a book with quickly established jump scares. That’s not to undermine the importance of maintaining an eerie atmosphere regardless of subgenre (which can be expertly curated utilizing mood boards), but rather to emphasize how scares are catered to differently in horror stories. A revision of your book centered on incorporating these fears can prove useful to heighten the effectiveness of your book. 

Tip #3 to Write Horror: Consider POV

Lastly, and this may sound surprising, but the point-of-view you choose to write your book in greatly matters in how you approach writing scenes that genuinely feel scary. 

First-Person POV

A first-person POV puts readers in the shoes of the narrator, and thus, they can only visualize the narrator’s senses. Curating surprises may be more effective if it focuses on the character’s sudden reaction and feelings toward a scare, told from their perspective. A psychological horror book can utilize confusion to scare readers. You can lean into what the narrator sees and feels that may be abstract or out-of-the-ordinary to play with the reader’s mind, especially if the narrator themselves doesn’t recognize it as peculiar. 

Third-Person POV

Despite the story not unfolding through the narrator’s eyes, a third-person POV can be effective in staging sudden scares or odd occurrences, while also describing the world outside of a character’s immediate view. Great for suspense, a third-person POV allows you to focus on an object or threat that is approaching a character without their knowledge. A monster lurking in the shadows or a ghost appearing on a monitor when someone looks away: A third-person POV is excellent at staging the world outside a character’s direct experiences. 

Even… Second-Person POV?

An excellent example of POV manipulation in horror story writing is in The Only Good Indians, written by Stephen Graham Jones. (Minor spoilers ahead!) The book is mainly written in the third-person, following a group of hunters tracking a monster. In one instance, a character is scanning his surroundings with a gun when he lands on someone, you, the reader, now addressed in the second-person as the monster they’ve been hunting. It’s a masterful example of producing a scare by exploiting POV before the reader can fully comprehend what’s happening. 

If you’re looking for more effective frights, I previously compiled a list of some excellent horror novels with bone-chilling scares!

Map Out and Curate Your Scares

Once you understand your subgenre, its associated fears, and identify your POV, you can begin to establish your scares. There is an extensive list of tips from published writers on what they utilize to startle their audience, and reading other horror books and identifying what about them scares you will inspire you to implement the same techniques when you write horror. 

Scare Trope Example No. 1: Horrifying "Safe" Spaces

Consider including scares in otherwise-safe spaces. Vividly describing a derelict house or abandoned hospital can be equally valuable in building suspense and unease. Think of Jaws and how the novel (by Peter Benchley) and film (by Steven Spielberg) made an entire generation afraid to swim at the beach, or how the film The Ring (based on Japanese horror novel, Ring, by Koji Suzuki)  recontextualized water wells and TVs as things/spaces to be afraid of. 

Scare Trope Example No. 2: The Unlikely Threat

Another example of a common scare type is an unlikely threat. It could be argued that The Omen (screenplay by David Seltzer) or Children of the Corn (again by Stephen King) largely contributed to a trope in horror involving unease toward children. We assume them unlikely to be a threat, only to be confronted with how horrifying they truly are. Or, how a film like Child’s Play or a novel like How to Sell a Haunted House (by Grady Hendrix) instil in viewers a lurking fear that prompts them to keep their eyes on inanimate dolls…just in case they spring to life. 

Toying with the unordinary and even looking inward at what scares you personally are excellent ways to construct a memorable scare that surprises the reader. You can defy expectations or lean into what already unsettles you and people like you. 

Final Thought About How to Write a Horror Novel

A dark-skinned woman with red eyes wearing all black on a red background stares menacingly into the camera.

A horror book can have intricately written characters or a unique plot, but if it’s not scary (or even suspenseful), readers will feel disappointed. Hopefully, you now feel more confident on how to write a scary scene in your horror novel or short story; hopefully you feel prepared to unnerve and surprise your readers. My final piece of advice for how to write a horror novel is to remember that it is okay to revise and edit until you feel confident your scares are effective. Horror readers love nothing more than the excitement of fear and unease creeping into their daily lives after reading an effective, frightening spine-tingler. Family, friends, colleagues, and professional beta readers can provide valuable feedback that helps you identify what didn’t work and what needs a bit more to really get readers’ hearts racing and keep them up at night.

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Editor’s Advice for Writing a Novel: How to Write the Hero’s “Ordeal”

A broken ladder leads up a stiff cliff; advice for writing the Ordeal in your novel

Emotionally compelling protagonists are at the heart of the best advice for writing a novel.

“If you want to be a writer, you have to be a reader.” So the advice for writing a novel typically goes. And this advice remains solid because there are many things writers can learn by example from exposure to other people’s stories and storytelling. 

If you’ve ever read a book, watched a movie or TV show, or played a video game, you’ve engaged with the story structure known as the Hero’s Journey (possibly even without knowing it, although if you have a background in creative writing, this will sound familiar). The Hero’s Journey is a twelve-step narrative structure from Joseph Campbell in his book of the same name, a structure that most conventional fiction follows. These steps span all three acts of the story, beginning with Ordinary World (the introduction to the setting) and ending with Return With The Elixir (the hero returning to their world, triumphant after completing their task or facing their challenge). 

Diagram of the Hero's Journey
Image by Wikimedia.

 (*also: please note: I intend and use “hero” in a gender-neutral way and interchangeably with “protagonist” throughout this blog.)

If you’re not familiar, or you want a refresher, take a look at the Hero’s Journey structure, and you will think of examples from the hundreds of stories you know. There’s a ton of guidance out there that addresses different steps in the Journey; in this blog, I’d like to focus my advice for writing a novel on the Eighth Step, the Ordeal, which is generally considered one of the most important moments in the conclusion of your story.

Exploring the Eighth Step: The Ordeal

A broken ladder leads up a stiff cliff; advice for writing the Ordeal in your novel
Photo by Théo Cold, Pexels.

The eighth step, The Ordeal, is described as the lowest point of the protagonist at the end of act two. It is their dramatic downfall or defeat, but it also reveals the truth of their character. Maybe the hero lost a battle against the villain, or they failed to save another character from danger. This step sees the protagonist hitting rock bottom in order to return with greater strength and resolve to conquer the main antagonist or conflict. (Not to be confused with the eleventh step, The Resurrection, which is defined as the final confrontation or climax, in book terminology.) 

Define Your Protagonist: Advice for Writing a Novel Lead

When you’re outlining your story or reach The Ordeal when writing, it can be challenging to weave plot points and character arcs together to create an emotional downfall for your protagonist. However, effectively crafting your protagonist makes this step easier to define through the following traits: their goal, their room for improvement, and their inner turmoil. If you find yourself struggling to define your character or build the right emotional tension, Developmental Editing provides that kind of assistance on your book’s character work and overall structure.

#1: What Are Your Protagonist’s Strengths and Goals?

After The Ordeal, ask yourself and outline: 

What strengths does your protagonist currently hold? And what do they still hope to accomplish? 

Return to your story and make note of the knowledge your protagonist currently has after their loss in The Ordeal. Perhaps they are a skilled fighter with a relentless need to bring peace to their city, an insanely knowledgeable detective with a knack for complex cases, or a passionate businessperson at the top of their career. 

A skilled fighter might strive to take down the villain or halt an evil external force to save their city. An intelligent detective might wish to catch an evasive serial killer. A passionate businessperson might dream of completing their life by finding their forever person. Once you have these two questions answered, you will know your protagonist’s mindset after The Ordeal, as well as the endpoint of what they still hope to accomplish. 

Using this arc, connect the necessary plot points (events that must happen) for the hero to grow from The Ordeal in order to navigate The Resurrection (or climax) in your book.

#2: How Can Your Protagonist Improve, and What Can They Learn?

Now ask yourself: where does your protagonist still have room to grow or learn? 

Returning to our previous examples, a skilled fighter might be great at what they do, but perhaps they’re still too hot-headed, which is what caused their problems during The Ordeal. They overestimated their abilities in a showdown with the villain and were brutally defeated. 

A detective might have underestimated the killer or worked themselves to exhaustion, and after The Ordeal, it seems the killer has slipped through their fingers. 

A passionate businessperson might have been shown during The Ordeal that they still have to learn a thing or two about partnership. 

All of these are common (and effective!) tropes for these character archetypes, so experiment with yours to make them unique to your story using specific plot points in your book; twist them into a more refined character. If you are unsure how your protagonist can still improve, examine where you have written them as a flawed, thus more human, character in previous scenes. How have they acted or what decisions did they make that were detrimental to them during The Ordeal? What lesson does it seem they might still need to learn?

#3: What Is Your Protagonist’s Inner Conflict?

Lastly, for your protagonist, you must find their inner conflict. These tend to be external to the main plot and based in a B-plot or the character’s roots. A fighter might have an unrelenting drive to prove himself to his peers. A detective might be on the case after their loved one fell victim to the killer. A passionate businessperson might struggle with commitment, dedicating too much of their life to work. The inner conflict must be unique to your protagonist, as it fleshes out their personality and individual emotions. This conflict drives your protagonist’s motivation in the story, and directly relates to The Ordeal and the lesson they must learn.

Book with handwriting on one page open on a bed of golden leaves

Final Advice for Writing a Novel: The Ordeal Sets up a Phenomenal Climax in Books of All Genres

The Ordeal can be a tricky step in your story, but if you take time to properly craft your protagonist with a goal, room to grow, and an inner conflict, you can create an engaging and compelling character-defining moment that’ll resonate with your readers. My advice for writing a novel using the Hero’s Journey is that it can be helpful to return to your favorite stories for inspiration, or even use a list of examples that clearly define the steps and what comes before and after The Ordeal. Most importantly, remember that this step serves as the most vulnerable point for the protagonist. Constructing an effective Ordeal is more than beating the protagonist to the ground; it’s the pinnacle of their flaws and traits clashing together in chaotic disharmony, and where they must learn to accept or improve themselves to conquer their objective. 

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How to Procrastinate in Writing (the Right Way): Procrastinate Efficiently to Put More Words on the Page Every Day

Young black woman in pink on pink background; staring in space procrastinating

The best advice for writer’s block is accommodating procrastination in your writing process.

Procrastination. In writing, the word alone likely terrifies you. In person, it can be a writer’s greatest enemy, stunting them from producing their work in a timely manner. It can feel debilitating, paralyzing, sometimes even humiliating. It’s likely you’ve come here to find out how to rid yourself of procrastinating entirely, but what if I told you that procrastination is not something to fear? What if I told you it’s a human response to responsibility and dread, and that you should invite it into your writing process? It’s unavoidable. Procrastination, avoiding your writing, is a challenge faced by every writer, a fact of this field. Solely because it’s a real challenge doesn’t mean it has to be a burden.

Young black woman in pink on pink background; staring in space procrastinating

Question Your Writer’s Block: Procrastination Is Caused By Something Deeper

First, you must ask yourself: Why do you procrastinate? It can be insightful to uncover what is stopping you from writing. Some common reasons to consider are a fear of judgment, that your work isn’t good enough, or that your ideas aren’t fully formed. You may worry others won’t like what you’ve written, that your time will have gone to waste. You may find that you’re not in a place to write yet, that you still require time to conceptualize your story. It’s as important to recognize when procrastination is a signal to take a break or allow yourself time to outline your book.

Spend 10 minutes inquiring why you procrastinate, and as you unearth your reasons… write them down. Yes. It may sound like ridiculous advice for writer’s block, but having a tangible list of reasons provides the full, unfiltered scope of your fears. Write them on a piece of paper, a Google Doc, hell, even a napkin. (I won’t judge!) Whatever is most realistic for you to remember and revisit. 

Once you have your list, read them out loud and challenge each one. Let’s say you have a fear of judgment. Why? Do you worry you’ll lose credibility, or that you’ll find out you’re a terrible writer? This exercise forces you to be vulnerable with yourself. It can feel daunting to look inward and question your feelings, but if you’re up to the challenge, it can reveal your deepest insecurities. You’ll find that your reasons are exactly that: your own insecurities. It’s your inner critic ceasing your writing before hearing anyone else’s opinion. 

I recently listened to Mel Robbin’s Let Them Theory on audiobook, and her advice for this situation would be: Let them. Let them judge you. Let them misjudge you. Let them think you’re a terrible writer. It’s frightening, but by facing the idea, you can then move forward to: Let me. 

What will you do if people judge or misjudge you? Will you develop yourself, hone your skills, rise to the challenge? Will you decide/choose only to listen to the judgment of people who have done more or better than you? Frankly, will you choose/decide to listen to the people who know what they’re talking about…including yourself. No one else knows what you went through to get where you are, so let them (mis)judge you, and let you grow from that experience.

Curate Your Ideal Writing Space

Now that you’ve introspected and asked yourself why, create your ideal writing environment to help you break past the writer’s block and procrastination: put together a when and where that sets you up for success in your writing. 

Try writing at different times of the day or documenting when your best ideas come to fruition. You may find your brain is surging with plotlines the second you roll out of bed, or that a rush of productivity hits you late at night. When you’ve found your creativity sweet spot, you’ve found your when. 

Depending on your when, you may find it challenging to designate a block of time for writing. Having a creative burst of energy at work or while cozying up on your couch at home can make it difficult to find palpable motivation to write. Therefore, creating an intentionally inviting where for your writing alleviates some of the difficulty. 

Change your scenery. At work, step out to your car during your lunch break or drive to a local coffee shop. At home, designate a room and put away all distractions. Light a candle, play calming music, brew a coffee or tea. Fill your space with inspiring pictures, quotes, or even a color scheme that gets you in the zone. Anything that effectively eases you into your writing space. The key is to invite yourself into writing. It should feel stress-free, a place you associate with relaxation and creativity. 

Make Room for Procrastination in Writing

Lastly, when blocking out time for your when, allocate time for procrastinating. Yes, you read that correctly. Time-wasting is unavoidable, after all, so invite it into your sacred writing space. Try the following approach, a modification of the Pomodoro technique, and see if this doesn’t help break up some of your writer’s block, procrastination, and anxiety about your craft

Two-Minute Technique to Tackle Writing Time

Give yourself 10 minutes on top of your writing time strictly for procrastinating. So, if you have an hour, 50 minutes is dedicated to writing and 10 minutes to procrastinating. This may feel uncertain the first few times, but with practice, it becomes normal and easier.

dedicate to focused writing time for better writing

Allow yourself 1 procrastination-minute at the start of your writing session to panic, moan at the blank page in front of you, curse and grumble out loud, or whatever you want to do for 1 minute to get out some nervous energy. 

After that minute, when you put your hand on the pen or fingers to the keyboard to start writing, tell yourself you’re only going to write for two minutes before you can take another break. 

You can do anything for two minutes, right? 

Then, set a timer for 10 minutes. And start writing.  

After two minutes, if you really want to take another break, do it. Spend another minute (1 more procrastination-minute) griping and prepping yourself. Then, try again to write for two minutes (but set another 10-minute timer).

What generally happens is that after two minutes, your brain becomes engaged in the activity, and you won’t be ready to take a break. You’ll probably write for the whole 10 minutes, until the timer goes off.

When the timer goes off and you feel like taking a two-minute break, go for it. You’ve built it into your writing time already. But, if the ten-minute timer goes off and you’re in the zone, reset it, and write for another ten minutes. 

You can repeat this process as many times as you want for the length of time you have. Tell yourself you’re only going to write for two minutes, then see how fast ten minutes goes by. 

Limit yourself to two-minute breaks when you do decide to take a break. Blue timer clock; signifies how to time yourself to challenge procrastination

Now, take a deep breath. You’ve prepared the time and space to put off things for a little bit, every now and then, and if it works, then use it. Ultimately, you can see if this approach doesn’t make you more productive overall. 

Tips to Keep Writing When the Urge to Stop Creeps In

Now that you understand your why, have found your when and where, and most importantly, have accepted procrastination as part of your process, you can begin to write. Put words on the page. Allow yourself to be messy. The goal is to get your thoughts and ideas out of your brain and on paper. View your writing space as a place to produce results, not to perfect them. You always have time to make revisions and edits later. 

To maintain your flow and avoid any snares in your writing, leaving a marker where you find yourself stuck allows you to move on and revisit it later. Take it from the journalists, who use the acronym “TK” (to come) to sustain their pace, saving tricky spots for their revision. 

If you come to a detail you haven’t researched, a continuity item to check, or you want to leave yourself a note to revisit later, you can always add placeholder text in square brackets (like this: [text]), which are easy to search and unlikely to show up in your writing otherwise (unless you’re writing a math textbook). 

For example, maybe in a dialogue scene, you don’t know exactly what the characters say to each other, but you know somebody is going to get mad by the end. A placeholder like the following will help you return and revise when the time is right: 

[Character A says something insulting to Character B that causes B to angrily respond, slam his fist on the table, and storm out.]

When your writing time has concluded, find a good stopping point. Hemingway said he stopped when he knew what would happen next (often, midsentence!).

Allow yourself an extra minute if you need to finish up a paragraph or jot down ideas for next time, and welcome the desire for continuation if you find yourself in a groove. Otherwise, following your timeframe builds a healthy habit of writing the entire duration of your time, which will help erode any tendencies to procrastinate in the future, because you’re excited about where you left off and don’t want to avoid writing. 

Conclusion: Final Advice for Writer’s Block and Procrastination

Typewritten letters spell out "The End" after you beat writer's blockIf you are willing to accept and accommodate the fact that all people procrastinate, your fear will diminish over time. Acknowledging its unavoidability is the first step to creating a healthy relationship with procrastination, understanding your why challenges you to combat it, and curating your when and where includes it while building a space for you to thrive. It is also important to grow comfortable with imperfection; allow yourself to simply write. Having that rough draft is the first step to finishing your book, and accepting the mess along the way is equally as important as your revisions. 

Above all, it’s crucial to grant yourself grace. Allowing yourself a day off from writing is not a sign of failure, and in most cases is beneficial to your wellbeing. Only when procrastination in writing becomes a habit should you question it. Inviting procrastination into your writing process is the first step to finally writing that book you’ve always wanted to. 

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Project Semicolon: Your Story Isn’t Over

September is Suicide Prevention Awareness Month banner

Semicolons Represent Continuation

You may know the grammatical function of semicolons, but did you know they represent so much more?

If you’ve never heard of Project Semicolon, it’s a cause I greatly believe in. Mental health and self-care are common discussions for writers, and especially for me, who edits psychology and self-help manuscripts.

September is suicide prevention awareness month, per SAMHSA. So if you care about writers and their mental health, consider how you can support both the awareness of suicide prevention and mental health in general.

Why a Semicolon?

When a writer chooses to end a sentence, they use a period. When a writer wants to string together many grammatical elements in a sentence, they can use a comma. However, a writer might choose to use a semicolon instead of ending a sentence; they might extend what they have to say with a simple change in punctuation.

It is with this theory and sentiment that the Semicolon Project continues their mission. People, but especially writers, who have lived through suicidal attempts or ideation might understand the deep symbolism inherent in the semicolon.

A semicolon is sometimes used when the writer could choose to end their sentence, but instead, chooses to continue, to go on, to add to the action of the story.

Related blog: Two Common (and Easy-to-Use) Semicolon Rules.

Semicolons in Real Life

If you are someone or you know someone for whom this symbolism might resonate, someone who is a writer and who may have been suicidal at one time, there are many ways to show your love or support for them and their struggles,

Nearly 50,000 people died by suicide in 2022, which is one person every 11 minutes. The majority (76%) were White; 32% of them were middle-aged adults; 20% of them were women. (According to the CDC statistics.)

Of course, any life lost to suicide can have tragic consequences for the people they leave behind. 

How to Support Writers You Know

First of all, if your friend is a writer and especially if they’re publishing things, you can read them. Leave a review. Leave comments on their social media. Support like this costs you nothing and means so much. 

Big up your writer friends to others — family, friends, and people who you think would connect with their message. There is literally no better way to support your writer friend than to tell people you love what they do.

Second, there’s a lot of semicolon merch out there. If you have the kind of relationship where you can get your writer friend a notebook, or a sticker, or a coffee mug, or something else they’ll love, then there’s shopping options for you my friend. (Check out these search results for “project semicolon” on Etsy!) 

Third, if you’re really hardcore about a writer or if you’re the type of writer who has been in the suicidal boat yourself, there are a range of tasteful and heartwarming semicolon tattoo designs to choose from. Getting a tattoo not only shows your long-term commitment and solidarity with your friend (or yourself) and their (your) struggles, but it’s also a silent form of support for all suicidal people and writers everywhere.

You can check out this Pinterest board for semicolon tattoo inspiration. 

Whatever you do, take a few minutes this month to support writers and spread awareness about suicide prevention. 

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CMS Citation for Nonfiction Writers: Use IMDB for Film Citations

CMS citation example: showing paper with question and footnote joke.

When you’re writing nonfiction, it’s important to cite the sources of your information. Back in the day, it used to only be acceptable to include citations for books and journals, but not any more! Today’s Chicago Manual of Style (CMS) citation references include not only books and journals but websites, magazines, social media, and even film sources.

While you sometimes might want to include a quote or information that you came across in a fictionalized movie, there are also plenty of nonfiction films, such as documentaries or biopics, that you may want to include in your bibliography. When that’s the case, you can use the Internet Movie Database (IMDB) to find out all the details and fully cite your source appropriate to Chicago, MLA, or APA style – although this blog is going to focus mostly on Chicago.

Now: please note, the 18th edition of the Chicago Manual of Style was just released earlier in August 2024, but this blog will continue to elaborate on the specifics of the 17th edition, as that is still the mostly commonly used across many commercial publishers. Subscribe to the SRD Editing Services blog to be among the first to know about the 18th edition updates!

Related blog: Creative Writing Tips: How to Watch Movies to Improve Your Storytelling. Check it out! 

Film vs. Online Video

No matter what style guide you’re using, when you’re citing video, you will want to check whether the format of the video matters. For Chicago citation style, website videos – such as TedTalks, YouTube videos, or videos posted to social media – are cited differently than films that are released in offline formats first. 

For website citations, you’ll include some of the same information, such as the title of the video and the year it was published, but you’ll indicate to your reader that the source is specifically a video by including the word “video” in square brackets. Check the full details on Chicago citation style for websites for examples. 

CMS Citation for Film

When it comes to citing a film, you can think of what qualifies as a “film” by whether it is a production that requires a professional crew, a script, a studio or shots done on location, and other standards of film production that predate the internet and its distribution of film materials. 

So, for example, you may watch a movie on the web browser on your computer through a site like Netflix or Hulu, but if it’s a fully produced movie that you could also have gone to see in a theater or purchased a DVD copy, you wouldn’t cite it as a website video. 

Similar to an online video, the CMS citation for a film will include the title, the year it was released, and some of the production information, but the citation for a film will ask for a bit more than a website citation. 

Here’s what the Chicago manual has to say about including identifying information.

14.265: Video and film recordings

“Citations of video and film recordings…will vary according to the nature of the material….Any facts relevant to identifying the item should be included. Indexed scenes are treated like chapters and cited by title or by number. Ancillary material…is cited by author and title.” 

For both Notes/Bibliography style and Author-Date style, the Bibliography element will be the same. If you are referencing the whole movie, don’t include the “scene title;” that is only necessary to include if you are directing your reader toward a particular scene in the film.

“Scene Title in Title Case,” Title of Movie or Film, directed by FirstName LastName (Year; Location of studio headquarters: Film Studio Name, version date), Media or timestamp. 

Example: 

“Crop Duster Attack,” North by Northwest, directed by Alfred Hitchcock (1959; Burbank, CA: Warner Home Video, 2000), DVD. 

For the Note in Notes/Bibliography style citation, include the director’s name, the title of the film, and, where applicable, a timestamp of the moment to which you’re referring. This is similar to how the Chicago citation for books would include a page number or page range in the note. For shortened notes, include only the director’s last name, a shortened version of the title, and the timestamp. 

For an Author-Date style CMS citation, throughout the text, include only the director’s last name and the date of the film’s publication in the parentheses.  

If you have the DVD, the case may include most of the information you need, but if you don’t have the DVD case or it doesn’t have the details, IMDB is the place to go.

Special Cases for CMS Citation of Films

Of course, there are occasional situations where more or different information may be required. If a film doesn’t have a named director, for example, you could include a producer or lead actor’s name. If the film has been translated from a foreign language or distributed by different companies in different countries or for various editions, you may have to include some details about the translator or which version of the movie you’re citing, especially if you’re drawing attention to differences between the versions. (This is similar to how a Chicago citation for a book that has been translated or reprinted is cited as well.)

Ask Your Editor for Details on CMS Citation

So that’s a quick overview and the basics of CMS citation for films. When you’re writing fiction (especially historical fiction), you don’t need to include sources for material, although you can include information in an author’s note if you’d like. But when your book is nonfiction and you’ve taken the time to do the research, include the sources in a full bibliography. When you’re not sure how to cite, make sure to ask an experienced editor!

Talk to an editor about CMS citations

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How to Get Published: Literary Journal / Literary Magazine Submissions

Background of yellow wood with brown-haired woman wearing black holding a brown umbrella.

Where can you publish short stories, essays, and poetry?

If you’ve ever wondered about the process of literary journal submissions (aka “literary magazine submissions”), this blog may be able to answer some of your questions about how to get published in these types of periodicals. 

Recently, Authors Publish magazine offered a free talk from writer Shannon Mann titled “How to Increase Your Chance of Literary Magazine Acceptance.” (You can view the entire recording HERE). Listening to Shannon speak reminded me of my own days in graduate school, as a fiction submissions reader for Southeastern Review and of my experience submitting poetry to various online and print publications. (You can check out my published poetry on THIS page). 

I am also fortunate enough to remain friends with some incredible creative writers of short stories, essays, poetry, and more, and witness their successes (and struggles!) with publication in journals and magazines. 

In this blog, I’ve compiled an overview and provided some insight into how to get published in literary magazines and journals. I hope it helps you in your journey! 

How to Get Published Tip #1: Register on Submittable

If you’ve done any literary journal submissions already, you’re likely familiar with Submittable.com, but if you’re new to submitting, you will find this platform both common and useful. For many publications, submitting via this platform is required, for others, it’s optional but may perhaps be more convenient for you. If you have a lot of material you want to publish, you ultimately could have many submissions going in many directions. A central hub for managing and tracking them will be a lifesaver.

How to Get Published Tip #2: Start with Research

There are thousands of publications, publishing every type of writing, and you can spend a lot of time and money throwing your best pieces against the wrong walls, hoping they will stick. 

If there are certain magazines you subscribe to and like their stuff, start there in your search of options for literary magazine submissions. If you’re not sure or if you don’t write the genres that your favorite magazines publish, here are a few places you can look to start keeping a list of potential new homes for your words. Consider subscribing to their newsletters (where available) for frequent and easy updates and information on opportunities as well as tips on how to get published.

  • Writers Digest 
  • Authors Publish  
  • The Sub Club and Publishing … and Other Forms of Insanity newsletters
  • The Chill Subs and Duotrope databases
  • The acknowledgments in books, essays, bios, etc. of writers you admire
  • Social media including hashtags (#MSWL) and Facebook groups such as Calls for Submissions Publication Announcements.

How to Get Published Tip #3: Draft a Plan

The thing about literary journal submissions is that it’s a numbers game. The more submissions you send out, the more likely that one (or a few!) of them will get accepted and your work will be distributed. If you choose only one or two targeted publications to submit to, that’s okay, but expect not to be accepted the first time. 

First, understand that knowing how to get published is only part of the battle; you must understand your true why. Ask yourself, why am I submitting? Is it simply because I want to share my words with the world? In her webinar, Shannon discussed common reasons people submit to literary journals or magazines, including a sense of community, for validation, for prestige, to reach interested readers, and/or to build or support a writing career. If you’re trying to make money, she warns and I can confirm, these types of publications are not the way to go. 

Sure, you might win prizes or get paid some (small) fees for some of your accepted submissions, but literary magazine submissions alone (likely) won’t be enough to allow you to make a living off your writing. And if you’re submitting to publications that charge reading fees, you could pay out more than you make back. So factor that into your plan. (You could, of course, target only those publications that don’t charge a submission fee). 

Black background yellow neon sign "everything is connected"
Combine your materials, your cover letter, and your matchmaking skills into a literary submission package.

When you’re formulating your submission plan, I advise asking yourself the three following questions. Consider your true goals and strategy, and follow your heart when it comes to the answers. 

Consideration #1: What am I submitting?

While reviewing potential publications to submit to, be very clear on which pieces of yours are ready to send out. A couple short stories, a batch of poems, an essay or two that might be ready in a few months. You may want slightly different strategies for each piece, but your literary journal submission process will likely look a little different for each genre. 

First: Determine the genre. The number one place you will look for any publication to clarify how to get published with them is their submission guidelines. Look at what they require or what types of pieces they prefer to publish, and tag your work with descriptive keywords/tags to keep yourself organized. Then, you’re basically matchmaking between what you have and what the magazine is looking for. 

If a publication is looking for flash fiction and you have only nonfiction essays to offer, it’s not a good match. Know what you have, organize it for yourself, and make it easy to find when the time comes; this will give you the best chance possible to match up the right piece with the right publication at the right time. 

Consideration #2: What practical information do I need for submitting?

After you’ve created your short list of pieces to submit and your short list of places to submit, you’re on your way! 

First: Consider the upcoming timelines. You might want to schedule a single day once per month to go over upcoming deadlines and send out your submission packages. If you have a lot to submit, maybe you schedule a few hours every week. But whatever your planned schedule, you’ll be far more efficient if you have one, and far more likely to actually follow through on your literary magazine submissions if you make it a regular item on your to-do list and block off time on your calendar. 

Second: Plan ahead for fees that need to be paid. Don’t wait until the last minute to see if you have the money and find yourself overspending. Incorporate that as part of your plan and make sure to budget and have the card you want to use prepared. 

Third: When it’s submission day/time and you sit down to send off your writing to your publications of choice, pay attention to the submission guidelines for each of them. Every publication will tell you exactly what they want you to include in your submission package and how they want your work submitted. If you can’t follow these basic guidelines, expect to receive rejection letters for every submission. 

Don’t spend time formatting your literary journal submissions or your cover letter in any way other than what the guidelines ask for. If there are no instructions, assume that a common font like Times New Roman or Arial is preferred, and stick with a medium-sized font like 11 or 12. I’d suggest 1.5 or double spacing as well. 

However, if they are specific, follow all instructions. If they ask for no more than a certain number of pages or poems, don’t go over the limit. If they ask for all work to be single-spaced, then format it as such. Etc. 

This may seem tedious or nonsensical to you, but they have their reasons, and if you want to play on their team, you’ll just have to play by their rules. It’s as simple as that. The best advice on how to get published: Follow all submission guidelines to a T.

Consideration #3: What do I say in my cover letter?

Many submissions will have you attach your work to an email or upload it to a platform. Either way, it’s appropriate to include a cover letter that addresses the recipient of your message (email or otherwise), providing some basic information regarding your literary magazine submission.

If the publication has a masthead and/or you can identify the name of the submissions reader at the publication, address them specifically. Remain professional, not overly personal, but addressing your message to the specific person is more welcoming and warm than “To whom it may concern.” 

Keep the letter short and sweet. It’s appropriate to open with something you like/admire about the editor’s work in particular or the publication’s work, such as an example of a story they published that you enjoyed, etc. This can help establish a personal connection. 

Include any information asked for in the submission guidelines, and tell the editor you hope they enjoy the attached [insert work here] (five poems, two essays, partridge in a pear tree, etc.).

Special Note!: Simultaneous Submissions

Always pay attention to whether the publication allows concurrent/simultaneous submissions. Many publications will ask you to let them know if you are submitting the same piece simultaneously to multiple places. You may need to include a line about whether any of the pieces included in this literary journal submission package are being simultaneously/concurrently submitted to other publications. If asked to include this information, be sure it’s in there. 

If the submission guidelines ask for an author bio, give them what they ask for. Usually, an author bio is expected to be between 50 and 100 words, written in third-person, and include info such as where your writing has been featured befor, or if you’re a debut/new/emerging writer who is excited to publish their first piece. Use a little humor and showcase your personality here.

How to Get Published Tip #4: Expect Rejections

It’s reasonable to expect that between 0% and 20% of your literary magazine submissions will get accepted. If you’re really good, your stats might be above that, but even professional writers know that not every piece is right for every publication at every time. Maybe your beautiful poem about your mother’s death happens to get submitted a month after they published another poem on the same theme by a different poet, and they don’t want to publish the same type of material in back-to-back issues. So it goes. Timing is out of your hands. Rejections happen for any number of reasons other than just “my work sucks,” so it’s time to get ready to grow some thick skin. 

Related blog: How to Face Rejection as a Writer: https://srdeditingservices.com/how-to-face-rejection-writer/

Consider: What is a Successful Submission?

Now, one interesting thing that Shannon discussed is that a custom rejection letter is a successful submission. Why? Because editors don’t write custom rejections for everyone. They have standard form letters/templates that are sent to most people. But, if you receive something that seems like the editor genuinely liked your piece, or it contains a personal detail that is outside the realm of a form letter, then make note of that in your submission records/notes. You should try that publication again later, with a different piece. Because there’s a chance that editor will remember you, and there’s a chance that your next piece might be more along the lines of what they’re looking for.

How to Get Published Tip #5: Execute Your Plan, Track Your Data, & Adjust Your Approach

Of course, you will not see results from a plan you do not execute. Once you’ve laid out your strategy for a literary journal submission process, you must follow through. Those dates you marked off on your calendar, reserved for sending your materials out in the world? You must sit at your computer on those days, follow the guidelines, and put the plan into action. Send your writing into the world. 

After some time – typically a few days to as long as a year – you will begin hearing back from the publications where you submitted. (Even if you haven’t heard back when your next scheduled submission date comes around, proceed with the plan!) You’ll need to keep track of which pieces were accepted (hooray!) and which were rejected, which means they can now be submitted elsewhere. So now it’s time to choose a new potential home for them and put them back in the submission queue! 

After a few rounds of literary journal submissions, you’ll begin getting the hang of the process and know a bit better what to expect. As you learn more about how to get published in your genres or in your dream publications, make adjustments to your approach. Workshop the materials more if need be, and always update and customize your cover letter. There is no one-size-fits-all solution, so making tweaks to suit your personal style and goals is the only way to reach those goals and fulfill your why. 

Consult with SRD Editing Services for Literary Journal Submissions

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Tips for Writing a Memoir

Black and white image of typewriter with hands on keys; tips to write a memoir

I enjoy a good memoir. Reading or listening to the stories of real people’s lives, especially told in the person’s own voice and style, can be one of the most pleasant and inspiring experiences. As a long-time and widely read editor of this genre, I have put together the following list of tips for writing a memoir. These should help smooth the process, whether you’re writing your own story or ghostwriting someone else’s.

Tips for Writing a Memoir No. 1: Solid Framework

Step 1: Draft a disclaimer for your imprint page.

Hear me out. Of course, I think you should start with an outline and a basic story structure. But I’m a planner, so that’s my advice for any book. Specifically when you write your memoir, I think you should start by drafting your disclaimers. 

Often, people are nervous that something they say about someone will become a potential problem. This is a very real legal concern. The legal ramifications for libel (publishing untrue and disparaging remarks about another person) can be severe. Of course, I want you to avoid this. 

On one hand, “If people wanted you to write warmly about them, they should have behaved better,” (easy for Anne Lamott to say!), but of course it’s more complicated than that in real life. 

What is generally advisable is to include a disclaimer on your imprint page (copyright page) as well as online excerpts of your material to say that you are telling your story and your interpretation of events that happened in your life to the best of your knowledge and memory. 

You might change people’s names or other identifying details to help protect their identity, if that’s what you choose to do. And if you choose to do that, then include a disclaimer telling your readers that’s what you did. 

Need some examples to work from? Here are some examples of legal disclaimers for your nonfiction book. 

Of course, this doesn’t have to be the final draft. But just to warm up your brain and get you thinking about what you’re going to write and who you’re going to include in your story, spend an hour or so drafting any and all disclaimers you think you’ll need for your memoir.

Step 2: Draft the introduction

I know you want to jump right into telling your story, but make sure you have the framework in place first. My second step in the first of my tips for writing a memoir is to outline and draft your introduction. 

Generally, I’d recommend an introduction that’s two to three pages for the final draft, so for this first draft, just aim for a page. Page and a half maybe. 

In your introduction, you want to grab the reader’s attention at the beginning, which is often done with a “hook” story. An inciting incident. Something that makes them want to know more. If you can tell an interesting, impactful, emotional story in a paragraph or two, you’ll grab them and pull them right into the rest of your book. 

Then, give them a big picture overview. A paragraph or two about who you are and why you decided to write this book. What’s your big idea? The main lesson you learned? What is compelling you to share your wisdom, your humor, your vulnerability (etc.) with them? Spend a little time introducing yourself, but more importantly, be clear and focused about the purpose and intention behind your writing. 

Then, promise them something. What will they get out of your book? What’s in it for them? Promise to entertain, to delight, to inform, to educate, to open a new perspective, to inspire … promise them some kind of verb. It doesn’t have to be over-the-top life changing. But promise them that they’ll know more or have fun. Something personal. 

Now when you write your memoir, you’ll have a clear sense of purpose and a goal to align your content with. Refer back to this draft of your introduction as often as you need to. And of course, after you’ve written the main chapters of your story, go back and revise and finalize this introduction so it not only aligns with what you wrote but so that it says everything you want it to say.

Step 3: Draft the conclusion

I know what you’re thinking: “I came here for tips on how to write my memoir, and you’re talking about framework materials!” 

Look, I know you know your story. You’ll get to that part, I promise. 

But first, draft a page-long conclusion “chapter.” Keep it focused.

Imagine you’re at the end of your writing journey. How do you want to say good-bye to your reader? 

This is your chance to thank them for their time and for joining you on this journey. Tell them how much you appreciate them reading your book. Remind them of the goals and intentions from the introduction and express your hope that they agree the goals were met. 

Then, invite them to connect with you and any other examples of your work online. Include contact information, info for social media and other websites, and anything else you want them to know about where they can find you (events, web courses, other businesses, etc.). 

Of course, if you haven’t set this up yet, don’t worry about it. Put in placeholder text because you’re going to finalize this for real after you write the book anyway. 

Wire framed glasses, dried flowers in a vase, and a handwritten note on a table; use ambiance to write your memoir

Tips for Writing a Memoir No. 2: Balance Truth and Fiction

Second in my tips for writing a memoir is to remember to have some fun with it. Yes, it’s the story of your life, and parts of it may be heavy. But it’s also your time to shine. Your time to tell the world who you are and what you stand for. Your chance to showcase your growth, your talents, and your passion. Take the license to be a bit creative when you need to be…and check out my Tips for Writing Your First Draft. 

Step 1: Prepare your notes

Now that I’ve advised you on how to build the framework when you start to write your memoir, I can give you my best tips for creative writing in this genre. 

The truth is that memory is notoriously faulty. (Oh, I’m sure. Not your memory, of course…) The first place to begin is your own documentation. Old journal and diary entries, correspondence (including emails or message threads), and video or photo archives are good places to start your own research. 

Sitting to look through all of this can be overwhelming and distracting. Don’t start by diving in. Instead, when you’re writing a chapter, scene, or retelling of something that happened, make note of when you can recall something in your archives that will help you confirm the details. Then later, at a separate time, you can dig through and find your source or reference materials. 

For example, let’s say you want to write about your wedding day. (Forgive me, it’s an easy example). You want to include details about what people were wearing and how old certain people were; you want to include some of the drama of the planning process and what happened after the Big Day. 

Well, you write the scene, and you make an accompanying list of all the places you can double-check yourself on the details: photo collections, emails from certain people in the days leading up to or following the event, family members and friends’ social media posts. Now you have a narrow list of places to check for specific details. Of course, in your research, you may find other details you’d forgotten that you wanted to add, or other info you’d like to change. But that’s what revision is for. 

But preparing your notes before you dig into your own archives can save you a ton of time in the research process. 

Step 2: Prepare to interview

One of the richest resources for knowledge and perspective that any of us have in our lives is other people. When writing your memoir, consider who else participated in some of the big (or small) moments of your life, and with whom could you confirm the information and discuss your portrayal of events and experiences. 

You may be thinking, “What? I don’t want other people’s words to write my memoir for me. I want to use my own words.”  

Of course, you want people’s input. You want their enhanced perspective to fill in gaps in your knowledge or inform your reflection and discussions about long-term results of things that happened. But don’t feel obligated to include all the information from every interview. You simply can’t. You’ll have to fine-tune what is said so it weaves into your narrative, and some information or people’s perspectives simply may not fit. 

On the practical side of my tips for writing a memoir, I advise creating documentation of your interviews. Record any in-person or virtual voice-to-voice conversations and have them transcribed so you can edit them in where needed. Otter.ai is an excellent resource for this, and you could certainly hire someone to proofread the transcript for you before you begin working with it.

Step 3: Think of memoir like time travel

Now you have all these notes and you have words from others about what happened or what they think happened. You’re getting closer to having a whole story to tell. 

That’s what makes a great memoir more than just a collection of facts about a person’s life – it’s the story of how those facts and events and circumstances and reactions all came together to result in something (someone) who does things differently and who has something to teach: You! 

The best memoirs creatively retell the most important events and balance between the stories that took place in the past and the current version of the person reflecting on the lessons learned or how that event influenced them in the long term. There are different ways to do this, and among my best tips for creative writing is that you figure out what process and structure works for you. 

Some save all their reflection for chapters toward the end of the book; some have a section at the end of each chapter that reflects on the events discussed in that chapter; some interweave or jump forward and backward in time. It all depends on your style, but make sure while you’re writing that you include some narrative about you now, today, as a writer, reflecting on what happened and telling your reader what you hope they learn from it.

What Are Your Top Tips for Writing a Memoir?

The most common writing advice you’ll read — like, show don’t tell and balance between narration, action, and dialogue — applies to whatever you write, but specifically, these are my best tips for writing a memoir. What are yours? Share them below! Memoir is a unique genre that allows a writer to combine their storytelling talents with a little bit of research into facts of personal history. But when you write your memoir, you get to tell your story your way, which is invaluable. Hopefully these tips make the process a bit easier and even maybe a bit more fun! 

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Advice for Writers: Intellectual Property & Estate Planning

Close up shot of a Last Will and Testament document. The advice for writers is to include all pertinent information in their Will.

The Legacy of You: Writing & Publishing Books

Every now and then, I’ll get a request for legal advice for writers that I don’t know the answer to — but I love learning! When I was completing my BA in English, I was a copywriter at a local attorney’s office, so I learned a few things about legalese. And after nearly 14 years as a freelance writer and editor, I’ve learned a few things about the publishing business and the legal side of writing and publishing books. I don’t think I can answer all the questions in a single blog post, but today, I’d like to try to hit the highlights and explain a bit about copyright, intellectual property, and estate planning for authors.

Disclaimer: Seek Specific Legal Advice for Writers in Your State or Country

While this blog will discuss some general legal aspects to consider as a published author and in the industries of writing and publishing books in general, I am not a legal expert. IP law is complex and can vary by location and other factors. I advise you to seek specific legal advice from a professional for your particular situation.

The Basics: Copyright Laws & Intellectual Property

You worked hard on your writing, your craft, and you should feel a bit protective of it. Because you created it, you own the “copyright” on it. Because it is not a tangible item–it’s an artistic creation born of your intellect–it’s known as “intellectual property” or IP, for short. 

Like any other property, your writing–both published and nonpublished books and all rights associated with them–can be legally protected, passed on/inherited, gifted, insured, taxed, and all those other things that come along with legal properties. You likely do a pretty good job of managing this during your lifetime, but we’re here to answer some basic questions about how your writing fits into your personal estate and post-life legacy.

Copyright Laws

Black copyright symbol on white background; use when writing and publishing booksFirst, a few basics about US copyright laws that you should know if you’re writing and publishing books. When you wrote your document, the copyright was automatically granted to you. So whether or not you ever registered your book with the US Copyright Office, you own the copyright. Registering your book does give you extra legal benefits and protections, so go ahead and visit the Copyright Office website and do that first.  

Generally, copyright protection lasts throughout the creator’s life and for 70 years after their death. At that point, your book will enter the public domain, meaning that anyone can use it without permission. During those 70 years, the copyright can be managed by someone you trust, who can benefit in many ways from holding that copyrighted property.

Access to Your Digital Materials & Archive

It’s important to think ahead about putting together all your IPs into a single organized system. If you’re not the most organized, ask for help! There are a number of legal or publishing business consultants and coaches who can help you not only compile the appropriate paperwork, but they can help you organize your digital assets too. 

The intellectual property associated with your book isn’t just limited to the final print or e-book version, after all! The IP includes your unpublished materials such as notes, rough drafts, correspondence, and literary archives (aka, your scrap heaps). All those random items on your computer or stored in the cloud. 

If organizing all that seems like a daunting task, don’t panic. At the very least, make sure that you specify in your estate documents who should manage your unpublished materials or have access to your computer or cloud storage. Compile all your passwords and give them to the appropriate person or include them in the estate document. It’s the digital version of not organizing boxes of items in your home but giving the right person a key: they have access to rummage through and find what’s useful when the time comes.

Succession Rights

Authors should consider how their literary works will be managed and maintained after their life has ended. This may involve appointing a literary executor responsible for overseeing the publication, licensing, and adaptations of your works. Clearly defining the terms of this role in the estate plan is crucial to ensure a seamless ownership transition. If you clearly outline how your property should be legally distributed, your inheritors will be set up to continue enjoying royalties and residuals for any ongoing or unfinished projects, posthumous publications, and future interests in your work.

More than Authorship in a Self-Publishing Business

Close up of man performing accounting and bookkeeping tasks with calculator and reports; running a publishing business is more than just intellectual property laws. Self-publishing includes both writing and publishing books, which means that it’s more than just authorship and copyright protection to be concerned with as part of an estate; there’s a whole publishing business to consider. 

Tax Advice for Writers Who Self-Publish

Tax laws can get complicated quickly, so American authors should familiarize themselves both with the federal estate tax system as well as any state systems such as probate that could affect their business of writing and publishing books. Additionally, you want to make it as easy as possible for the person who inherits your business to access all necessary tax documents and manage your business’ taxes. When assembling your estate paperwork, be sure to include your most recent tax filing as well as any passwords and login information to digital assets such as accounting software or contact information for tax consultants.

Royalties & Residuals

If you set up a publishing business for your own self-published materials, your work can continue to sell and generate income after your death; make it easy for your inheritors to continue running that business and carrying on your legacy. If your publishing business also publishes and represents work by other authors, the best advice for writers says to definitely consult a reputable business lawyer who can both help your business’ inheritor access and manage all your own assets while also protecting and doing right by the authors whom your business publishes.

Licensing, Permissions, & Translations

Your work is automatically copyright protected and recognized as your intellectual property in the language and medium in which you published it. For example, if you’re writing and publishing books in English that are distributed in the US. But what if, in the future, a publisher wants to translate it to other languages and distribute it in other countries or new markets? What if, after your death, someone wants to turn your book into a movie or a TV show? 

Make sure you consider long-term and alternate uses for your IP beyond what you did during your life. Include your thoughts about what should be done in those scenarios in the instructions for your inheritors! Of course, if the executor is familiar with licensing, permissions, and international copyright, that is wonderful, but if not, provide in your instructions some basic resources that might be helpful to the future executor of your estate. 

Other Publishing Business Items to Consider

Charity

If your business has been involved in a charity during your lifetime, you can include instructions to continue that connection and your support for causes you love as part of your estate. For example, you might leave instructions that a certain percentage of royalties is donated to a specific organization. Or, you might want to establish a charitable trust as part of your estate. Your business and your art can continue to support the causes you loved through legacy donations.

Bottom Line Advice for Writers: Don't Wait, Draft Your Will

Update Your Will Regularly

Like many other things in life, your Will isn’t a one-and-done item. Update your Will whenever a substantial change happens with one of your IPs, your business structure, your overall financial situation, or with one of the people whom you’ve named as inheritor. Some legal professionals suggest updating your Will every five years; if you publish more than one book per year, I might suggest updating it every year when you file your tax return.

Talk to Your Beneficiaries & Executors

Don’t surprise whomever you are going to name as the inheritor for your IP and your publishing business. In the middle of a period of grief, your inheritor may not be in the right headspace to learn about and manage your writing and publishing. Books that are already published may be neglected, and opportunities to publish new materials can be missed. 

Instead – and this is excellent advice for writers but for anyone, really, even if it is difficult – you want to have a serious and thorough conversation about your estate with the person (or people) you’ll name as inheritors. Talk with them about your intentions and your concerns. Give them a chance to ask questions. Clear communication can prevent a ton of hassles and mistakes when the time comes, and even if it becomes a bit emotional, it is well worth the person being prepared to handle any financial obligations or enjoy the benefits associated with the hard work of writing and publishing books that you did in your lifetime.

Last Piece of Advice for Writers: Think Long-Term

Seventy years is a long time. In 70 years, your IPs could reach three whole new generations of fans, be translated into countless other languages, reach global fame, and become the basis for stage plays, graphic novels, or other media you never thought about during your life. Whether you’ve gone through a traditional publishing business or self-published your own works and established your own business entity, there’s great, easily accessible legal advice for writers to make it as easy as possible for their IPs to live on vibrantly and lucratively for those seven decades. (For an excellent article that inspired me to write this blog post, visit this article at selfpublishingadvice.org!) You want to make it easy for your loved ones to benefit from your hard work! When you put together your estate and wishes for your IPs, dream big. You never know what might happen with your work in the future.

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How Long Will It Take to Edit My Book?

Answer to the question how long will it take to edit my book symbolized by woman's hand holding pen and marking up document.

Sometimes a question seems straightforward, like “How long will it take to edit my book?” but the answer can be a bit deceptive. There are a few variables to consider before you arrive at the right answer for your situation. 

In this blog, we’re going to consider what different timelines might look like if you get your book edited by a professional. But if you’re interested in some steps you can take to self-edit your work before hiring a pro, take a look at these blogs for some suggestions: 

“Self-Editing Checklist for Authors”

“29 Words to Cut from Your Novel”

“Self-Editing Tips: Use CTRL+H to Edit Your Novel”

If you’re thinking, “I want to hire an editor for my book, but I don’t know how long it will take,” read on! 

Different Levels of Book Editing

One of the biggest factors in how long it will take when you get your book edited is the level of editing your book needs. If you are an amateur writer who is just getting started, you may not have a clear idea of what these terms mean or what the results will look like after your book has been out through that round of editing. 

Please don’t expect an editor can” fix” everything in a single round. If you have questions about what is included in your editor’s services, you should ask. When you get your book edited, you should always have a clear understanding of what your editor is doing. If there is something specific you want them to do, make sure to address that with them.

Developmental Edit

A developmental edit can take several months. Many people think, “It won’t take that long to edit my book,” and sometimes it doesn’t, but if you want the ultimate package that includes feedback, direction, and coaching, you shouldn’t rush this process. 

Typically a developmental edit happens when you haven’t yet finished your manuscript. Maybe you need help brainstorming or finishing the writing of certain sections. If you’ve got a plot hole you don’t know how to fix, or you’ve written everything except the conclusion, or you’re not sure about big-picture things that affect the whole book (like pacing, structure, and tone)…look at your developmental editing options. 

This level of editing will help you cross the finish line if you haven’t gotten to the goal word count you’re reaching for, or it will help you cut down the manuscript to a marketable length if you’ve overshot the ideal word count for your book’s genre. Think of it like professional “workshopping,” where an experienced editor (who is often also a writer) helps with way more than just the technical elements of grammar, spelling, and punctuation. 

Content and Structural Editing

Content editing can reasonably be expected to take a few weeks to several months, depending on the length of your manuscript and whether you provide your editor with detailed directions for what you want. 

This level of editing most often happens once you’ve completed your manuscript, but often when you get your book edited with a developmental package, suggestions for the structure and content are included. 

Content/structural editing focuses on the storyline and pace, organizing the chapters or sections, and ensuring continuity and cohesion. If you’re not sure if chapters are in the right order, or if you want help from an outsider’s perspective with double-checking content and organization, content editing may be the right option. A content editor may or may not also include line editing and correcting errors as part of their process, and of course, if line editing is part of the process, content editing will take a bit longer. 

Line Editing

Line editing can go quickly when you hire a professional editor for your book. At SRD Editing Services, we estimate one week per 25,000 words for our line editing services, although most are completed sooner.  

A line edit is what people commonly mean when they say, “I need someone to edit my book!” A line edit frequently focuses on line-by-line changes, looking at specifics of word choice, repetitive wording, in-chapter changes, and corrections to elements of style and grammar. A line edit will often include more than merely corrections to typos and grammatical errors; it can also include suggestions for improvement, although these tend to be more focused and less sweeping than what you’ll find in a developmental or content edit. 

Copyediting

The least-intense, and therefore quickest, type of editing—copyediting—can typically be completed by a professional in a week for most manuscripts of 100,000 words or less. If you’re looking to get your book edited by a professional, at the very least get it copyedited, even if you skip all the other editing steps and options. 

People often confuse copyediting and proofreading, so it can be helpful to be aware of the difference. 

Have your book copyedited as an MS Word document before you have it converted into a PDF or epub file by a professional graphic designer. Word has several valuable features that make it easy to search for and correct grammar mistakes, spelling errors, punctuation problems, and more. Once your manuscript is turned into a PDF, making changes can often be more difficult and involve more steps/more work. 

Have your book proofread after it’s turned into a PDF. Once you or a graphic designer has converted the manuscript into “what it will look like” to the consumer, you’ll want to do a final review to catch any small mistakes before the book is available to readers. 

Copyediting will likely involve correcting multiple errors on a page; by the time you’re proofreading, hopefully, your manuscript will need only one correction every four or five pages.

What Other Factors Affect the Timeline to Edit My Book?

While the type of editing you choose for your manuscript will naturally affect the timeline when you hire an editor for your book, there are other factors to consider that will affect how long it takes to edit your book.

Length of the Manuscript

While it seems self-explanatory, longer manuscripts usually take longer to edit. Although it’s not quite that straightforward. While a 10K-word manuscript may take less time than a 50K-word manuscript, if the shorter one needs a more in-depth edit (like a developmental edit) and the longer one needs less editing (like a copyedit only), then the two manuscripts may take approximately the same amount of time.

Genre of Manuscript

Complex or heavily researched manuscripts will take additional time due to fact-checking, reference-checking (whether as Notes or in a Bibliography), character tracking and consistency reviews, or structural analysis. Poetry, fantasy, sci-fi, and historical fiction and nonfiction are some examples of genres that commonly take more time to edit.

Experience and Approach of Editor

Ask yourself: “What’s important to me when I hire an editor for my book?” Editors, like writers, have different processes. If your editor is very experienced, they may have a standardized form or set of questions to help them save time. They will likely have a specific style guide they want to use, and if you are more familiar with those standards, you can save time collectively.  

Avoid an editor who claims to use AI to assist their editing. Amazon and other online publishers are now developing policies to prevent writers from uploading AI-generated materials. There is a fine line between AI-generated and AI-assisted, and mislabeling your content can result in severe penalties. 

Final Thoughts on Hiring a Professional to Edit My Book?

No matter what factors influence the timeline for your book’s edit, it’s prudent to underestimate that multiple factors can affect your personal publishing goals. A professional editor can make a reasonable or general estimate, but snags can always come up during the process when you get your book edited by a pro. 

Whatever timeline you and your editor agree to, it’s wise to add 10% as a cushion, especially if you have additional deadlines to meet after the edit. My book editing schedule includes extra time built in to account for the “unknown unknowns,” and I suggest you take this precaution as well. While it isn’t always necessary, clients (writers) are often happy when I plan for this extra time and end up having their edits completed ahead of schedule. Win-win.  

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Tools for Romance Writers: Ratings for Spicy Romance Novels

Although writers of all genres should consider how different readers may approach their text, it’s particularly important for writers of romance, erotica, or “spicy romance” novels to connect with readers who are looking for their content. That’s why everyone could benefit from a universal ratings system.  

As a reader, if there were a single standard for rating the “spice level” in books, it would be easier to select, recommend, and review books they love and avoid books that don’t match their preferences. As a writer, a single rating system would make it easier to connect with readers who enjoy reading about what you enjoy writing about. 

Oh! If only. 

While other types of media such as TV shows and movies have standard ratings systems that make it easier for viewers to identify age-appropriate and content-desired material, books are sadly a bit different. While many good romance authors are beginning to include “content warnings” (or “trigger warnings”) so readers are aware of specific content they may find upsetting (or particularly enticing), it’s not required nor a standard practice, although it does seem to be trending in that direction (especially with self-publishing authors). 

But without a universal rating system for books, it remains difficult for readers to have insight into what books are appropriate for them (or their kids, if they’re parents), and it remains difficult for writers to appropriately connect with the right readers. 

Rated Reads helps parents determine if the book their child is reading is age-appropriate (not just because of romantic or sexual content, but for a whole host of reasons.) Our blog last year on the Accelerated Reader Bookfinder tool may also be helpful.  

So what do writers and readers do? Well, here are a few things to consider if you enjoy reading or writing romance, erotica, or erotic/spicy romance.

What’s the Difference?: Romance, Erotica, & Spicy Romance Novels

It’s important to note that reader preferences vary, and what one person considers spicy or erotic may differ from another’s interpretation. The key is to find a balance that suits the preferences of the target audience while maintaining a coherent and engaging narrative.

Hiring some romance beta readers can help you gauge where your novel falls on these scales and help with your marketing and promotion plans. Beta readers in general, but specifically, beta readers who are avid fans of different types of romance, can be invaluable in helping you determine if your content has the “right” spice level for your target readership. 

If you are a romance reader and want to help writers hone and perfect their on-page spice, consider being a beta reader! There are numerous groups on Facebook and hashtags on IG and TikTok (aka “Bookstagram” and “BookTok”) where you can volunteer to be ARC or beta readers for the works-in-progress of all types of romance writers. 

Romance

Woman and man in wedding attire laughing next to table; man wearing hat and woman holding bouquet. Romance novels typically end with happily ever after.
Romance novels typically end with "happily ever after."

To begin with, a “romance” novel typically holds the romance and the developing relationship between characters as central to the plot. The best romance novel tips remind writers to keep the emotions as the story’s focus, and there should typically be a strong narrative arc in the journey of the characters, including challenges, conflicts, and resolutions. True romance novels build an emotional connection as they explore their feelings, and the end result for the reader is a satisfying emotional payoff or a “happily ever after” (HEA) ending. 

While there may occasionally be intimacy, often characters will engage in “relations” through euphemism or off-page action, similar to how movies or TV plots will show characters tumbling into bed, kissing, and then fade to black. Often, there is a fade-in afterward to show the characters’ emotional reactions to the events, but the focus is on the emotions and relationships rather than detailed sexual encounters. Even when sex scenes happen on-page, the characters may speak in euphemism or “softened” sexual language rather than explicit word choice from the author.

In movie-ratings terms, true romance novels can be at any major commercial movie level – G, PG, PG-13, or R. 

Erotica (aka Smut)

To begin with, an “erotica” novel typically places a strong emphasis on sexual content and exploration. The primary goal is to arouse and titillate the reader through explicit descriptions of sexual encounters. While erotica may have a plot, it is often secondary to the explicit content, and as all good romance authors know, the narrative may serve as a framework to connect erotic scenes rather than a central focus that details characters’ emotions and their journey toward a romantic connection. Beware of losing sight of the plot just to get caught up in “the action,” unless you intend to write erotica. While some erotica may explore emotional connections, the central theme is sexual pleasure, and the emotional depth is typically not as developed as in romance.

Erotica is known for its explicit and detailed depictions of sexual acts. The language used is often more direct and graphic, catering to readers seeking a more intense exploration of sexuality. Its content runs the full gamut of sexual fantasies, preferences, and kinks that you can find when reviewing the categories and tags of any website that publishes adult videos.

In movie-ratings terms, erotica is pretty strictly X-rated and higher.

Spicy Romance Novels / Erotic Romance Novels

man and woman in intimate embrace. He is shirtless, she facing away from him, he appears to be kissing her neck and removing her shirt; spicy romance novels balance sexual and romance content.

“Spicy romance” or “erotic romance” falls somewhere between traditional romance and erotica. These subgenres acknowledge and include explicit sexual content while maintaining a strong emphasis on the emotional connection between characters. Here are some key erotic romance novel tips:

Balanced Focus: Spicy or erotic romance strikes a balance between the emotional development of the relationship and explicit sexual content.

  • Narrative integration: Unlike erotica, which may prioritize sexual scenes over the plot, spicy romance integrates intimate moments into a broader narrative that includes emotional tension and character development.
  • Reader expectations: Readers of spicy or erotic romance are seeking a more sensual experience than traditional romance without necessarily delving into the more explicit and purely sexual nature of erotica.
  • Varied Heat Levels: “Heat levels” are often used to classify the level of explicit content in romance novels. Spicy or erotic romance can encompass a range of heat levels, allowing readers to choose the intensity of sexual content they are comfortable with.

Like the best rated-R movies can have very graphic, enticing, titillating sex scenes without losing sight of how those scenes play into the overall narrative arc and important relationship-building between the characters, spicy/erotic romance novels walk the fine line between turning on both their readers’ bodies and minds. 

Spicy Romance Novel Tips: Popular Ratings Systems & Resources

There are several tools and systems that readers and writers can use to assess the spice levels or explicit content in novels, especially in the romance and erotic genres. These tools are often referred to as “heat levels” or “sensuality ratings.”  Good romance authors would be wise to understand readers’ expectations and make the most of these rating systems and reader feedback to strike the right balance to connect with their audience. 

All About Romance (AAR) is a popular romance-focused website that provides sensuality ratings for romance novels. The ratings range from “Kisses” for books with no sexual content to “Burning” for those with explicit scenes.

Smart Bitches Trashy Books is a romance book review site that provides heat ratings for the books they review. The ratings range from “Sweet” to “Scorching.”

Romance.io is a fairly new (2 years old) book review site that provides a “steam” or “spice” rating for a variety of romance books and invites site members to add their own reviews and ratings. They offer a “similar book finder” so if there is something you liked and want more of, you can find it easily. 

Is the Book Spicy? blog focuses just on the spice ratings. No reviews. No spoilers. Just letting you know how steamy the book gets and what the tropes and triggers are for different titles. 

Goodreads, a popular book review platform, allows readers to tag books with descriptors like “steamy,” “erotic,” or “clean romance.” Reading reviews on Goodreads can also provide insights into a book’s heat level. (Connect with our editor, Cortni Merritt, on Goodreads!) 

Readers can use these tools to find books that align with their preferences, and good romance authors can refer to these and other online spice-rating systems to navigate the varying levels of sensuality expected from readers in romance and erotic novels.

How Writers of Spicy Romance Novels Promote & Connect with Readers

One of the most common ways to connect with readers of spicy romance is through newsletters. It’s a great way for writers to find both romance beta readers and eventually promote their finished books for sale. Many newsletters target in on specific subgenres, character types and tropes, and content that’s close to their heart, but here are a few ideas where writers of spicy romance novels can start brainstorming for promotion and marketing:  

  • Book retailer newsletters (Amazon, Barnes & Noble, Kobo, etc.)
  • Book review sites (Goodreads, BookBub, BookSends, etc.)
  • Book subscription services (Book of the Month, Romance Reveal Book Box, etc.) 
  • Blogs for romance, spicy romance, or erotica books/writing.
  • Social media groups (Facebook, IG hashtags, BookTok, etc.)
  • Forums such as Reddit r/RomanceBooks

By becoming a subscriber to a few newsletters or forums for the genre in which you write, you become familiar with the expectations, including the spice levels and standard ratings, for your spicy romance novels.

Writers of Spicy Romance Novels: Do Your Research

Among all the advice out there on how to write a solid romance novel, tips about incorporating spice are in no short supply. If there were a universal rating system, it would certainly be easier for writers, but since there is not, it is worth the time for a writer working to establish themselves or better target their readership in the romance genre to review several sources of reader feedback about spice levels. 

There’s a reader out there for every book! Don’t feel like you have to force your book to become too spicy if you don’t want it to be, but if you want to turn up the heat, just connect to readers who are looking for that level of burn, and your spicy romance novels and readers will enjoy the perfect match-up.  

Ready to talk to a romance novel editor?

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Erotica, Romance, & Spicy Romance Novels Edited by SRD Editing Services

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Planners Vs. Pantsers: Tips for New Writers on Navigating Your Writing Journey

An AI image of a woman's back. She is wearing blue shirt and khaki pants and facing an explosion of colors, clocks, and perhaps scraps of paper. Symbolizes how pantsers approach the creative writing process by prioritizing spontaneity and creativity.

Writing is a unique journey, and every writer has their own style. Some meticulously plan every detail, while others embrace spontaneity and write “by the seat of their pants.” As an editor who has worked with both types, I’ve come to appreciate the strengths and challenges each style includes. In this blog, we’ll explore the worlds of planners and pantsers, providing valuable tips for new writers on self-publishing and the various stages of editing a book.

Planning Your Path: Crafting a Literary Blueprint

The Planner's Playground

A notebook and pen with crumpled pieces of paper on a wood desk; symbolize the planning type of writer in discussion of tips for new writersPlanners, or “architects,” are writers who thrive on structure. Here are some tips for new writers who want to take this meticulous approach:

1. Develop a Detailed Outline

For planners, the key lies in crafting a comprehensive outline as a crucial stage. Break down your story into chapters, noting character developments, key events, and thematic elements. This roadmap will guide you through the writing process, minimizing the risk of getting lost in the narrative wilderness.

2. Explore Character Motivations

While planning is your strength, be wary of falling into the trap of a too-rigid structure. Take time to delve into your characters’ motivations. Understanding their desires, fears, and conflicts adds depth, preventing characters from feeling flat or lifeless.

3. Avoid Rushing Things

Planners may be tempted to rush through scenes because we know the outcome. Be mindful of pacing during these drafting stages. Don’t sacrifice tension. Ensure each scene serves a purpose and contributes to the narrative arc. During later stages of editing a book, you can trim or add as necessary.

Learning from Pantsers: Valuable Tips for Planners

While planners excel at creating structure, there’s much to learn from the spontaneity of pantsers. As a dedicated planner, I often work with pantsers who remind me of the magic of spontaneous creativity. During brainstorming or creativity sessions, often unplanned ideas emerge and transform the entire plot. These revelations can result in some of the best elements of a finished story. You’ve got to allow space for the unexpected.

Embracing Spontaneity: Tips for New Writers Who Write by the Seat of Their Pants

The Pantser's Playground

An AI image of a woman's back. She is wearing blue shirt and khaki pants and facing an explosion of colors, clocks, and perhaps scraps of paper. Symbolizes how pantsers approach the creative writing process by prioritizing spontaneity and creativity. Pantsers, or “gardeners,” revel in the thrill of uncertainty. Here are some tips for new writers who find that this spontaneous approach works best for them:

1. Start with a Seed

For pantsers, begin with a single starting point – a character, an image, or a theme.This starting point can give you something to help your imagination run wild. Enjoy freedom from the constraints of a detailed plan, but give yourself a starting point as a seed from which your story can grow organically.

2. Embrace Plot Holes

Pantsers may find themselves overlooking plot holes, assuming that the narrative threads will magically tie together later. While spontaneity is your strength, be open to revisiting and filling in those gaps during later stages of editing a book. Your story should make sense to readers who don’t have the privilege of seeing everything in your head.

3. Balance Creativity with Structure

While celebrating your spontaneity, be mindful not to veer into overly indulgent or “purple” prose (or be prepared to edit it closely later especially if you’re self-publishing). Every reader craves a sense of overall story structure. Your narrative should be coherent and provide readers with a clear, engaging journey through your creative landscape.

Learning from Planners: Valuable Tips for Pantsers

Pantsers may be tempted to rush to put down all their thoughts, no matter where it leads the reader because they are enjoying the journey their characters take them on. Be mindful of losing your readers and having them drop out of the story because they couldn’t follow along. Don’t sacrifice clarity or cohesion. Make sure your wild ride still follows the standard “hero’s journey” or demonstrates a clear character arc by at least leading the reader to an end that makes sense based on the beginning. 

Still got questions? Check out this video from Jenna Moreci with tips for new writers, “10 Best Tips for Plotting Your Novel.” 

Image shows black text on white background of a 3x3 table explaining different types of planner and pantser writers. Can be helpful in self-publishing and different stages of editing a book.

The Editor's Role in Different Stages of Editing a Book

Whether you meticulously plan or live the pantser life, both approaches benefit from a skilled editor’s touch and multiple stages of editing a book. One of my top tips for new writers is: Do NOT try to do all the editing at once. You will miss so many things. 

As an editor, especially for self-publishing authors, my role is to enhance the manuscript while simultaneously respecting the writer’s unique style. Here’s how I navigate the challenges for both planners and pantsers during editing:

Guiding Planners through Editing a Book

  • Addressing Rigid Structure: I guide planners to help balance their detailed plans with spontaneity. It’s important to encourage flexibility within their detailed (and sometimes very thorough) plan, which allows for authentic character development.
  • Tackling Rushed Pacing: For planners prone to rushing through scenes during the drafting of their book, I focus on pinpointing areas where slowing down can heighten tension and emotional impact. Could the scene use more description? More emotion? More dialogue. Identifying and addressing these types of gaps ensures a more satisfying reading experience.

Supporting Pantsers when Editing a Book

  • Filling Plot Holes: Pantsers may overlook plot holes or assume readers will connect the dots, but sometimes the manuscript benefits from a bit more obvious storytelling devices. My role is to gently guide the pantsers who resist structre and help them identify and fill in gaps so the reader sees how each scene logically builds from the previous one.
  • Maintaining Coherence: While celebrating spontaneous and quirky action, sometimes this takes the whole plot in a totally unintended direction. Often, writers realize this and try to steer it back to its original direction, but they sometimes need help maintaining coherence. A cohesive structure doesn’t mean sacrificing creativity; it ensures readers can navigate the narrative landscape without feeling lost.

Developmental Editing & Beta Feedback during Self-Publishing for Planners & Pantsers

Regardless of your writing style, the journey is incomplete without multiple rounds of editing, which can include developmental editing, beta reader feedback, and separate steps for line editing and proofreading, especially when self-publishing. Among the best editing tips for new writers – planners and pantsers alike – is that they can benefit from these crucial steps:

Embracing Developmental Editing when Self-Publishing

  • Strengthening Weaknesses: Developmental editing focuses on enhancing a manuscript’s strengths and addressing weaknesses. Whether it’s refining a detailed plan or filling in gaps left by spontaneity, this stage of editing a book is about refining your unique voice and making sure your message or story is clearly communicated.
  • Gaining External Perspective: A skilled editor provides an external point of view, identifying elements that might be unclear or inconsistent to a reader who can’t see inside the writer’s mind. A fresh set of eyes ensures your unique story resonates with a broader audience.

Tips for New Writers to Harness Beta Reader Feedback when Self-Publishing

  • Diverse Perspectives: Beta readers should be among your target audience. They can help highlight what works, what resonates, and where they felt disconnected from the text or confused by the story. Their feedback is invaluable in shaping your story so that appeals to your target readership.
  • Testing Emotional Impact: Beta readers help gauge the emotional impact of your story, an essential consideration for self-publishing and something you can absolutely tweak during the stages of editing a book. Do they feel connected to the characters? Are your plot twists effective?  Your beta readers’ responses guide you in fine-tuning your manuscript for maximum reader engagement.

Planning or Pantsing Your Writing Can Make for an Awesome Journey

Whether you meticulously plan every detail or let the words flow organically, your writing journey is a personal and evolving experience. Embrace your unique style, recognizing the strengths it brings to your storytelling.

As you embark on this creative adventure, remember that both planners and pantsers can learn from each other and there’s room for both in the traditional and self-publishing worlds. The careful architect can infuse spontaneity into their writing, while the adventurous gardener can benefit from the structure that ensures a satisfying reader experience. And both can address issues of structure or plot development in the stages of editing a book. 

Ultimately, every tips for new writers list should emphasize how the magic happens in the balance – a harmonious dance between planning and spontaneity. As you refine your craft, celebrate your individuality, and let the words guide you on your journey to becoming a seasoned and versatile writer, you’ll find the special mix that is just right for you.

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Writers Talking Writing: Creative Writing Advice from Questlove

Cover of the book "Creative Quest" by Questlove, full of excellent creative writing advice

Last year, I had the pleasure of listening to several audiobooks from some amazing writers, several of who provided excellent creative writing advice. In today’s blog, I want to highlight some of the best creative writing tips and techniques from the book Creative Quest, by the very talented Questlove.

Why is Creativity Important? According to Questlove

It might seem like the value of creativity is obvious (at least, to those of us who love great writing), but in the mind of a creative genius who writes in both words and musical notes, the importance may be slightly different than what people might assume. 

In this book, Questlove emphasizes the value of self-expression, describing how creativity allows people to express themselves and their unique perspectives. By utilizing your creativity, you may find means of communicating emotions, thoughts, and experiences that may be difficult to convey. Allowing ourselves room to explore creative solutions to problems is crucial for development in many fields, not only our artistic endeavors. Creativity allows us to address complex challenges and come up with novel solutions.  

Engaging in creative endeavors can also bring us personal fulfillment and satisfaction and fosters personal growth. Creating something original and meaningful is deeply rewarding and can boost your self-esteem and feelings of connectedness with the world. Through creative and artistic expression, we can transcend cultural and linguistic boundaries. Our creativity can connect us, bridging gaps to convey ideas and emotions in ways that resonate with others. As we push our own boundaries, take risks, and learn from our experiences, we challenge ourselves to always be improving and learning. 

Additionally, creativity shapes and enriches culture. Artists and creators are the architects of cultural evolution, and their contributions have lasting impacts on society. Innovation and progress are driven by creative and critical thinking in many fields, including technology, science, and business. It leads to the development of new products, services, and ideas that can transform industries and improve lives. 

Lastly, our creativity brings joy and inspiration to both ourselves as creators as well as our audiences. The joy of experiencing art, music, literature, and other forms of creative expression is a fundamental part of the human experience.

While Questlove’s opinions and views may not be specifically creative writing advice, his overall analysis on what makes creativity important as part of the human experience is essential for everyone, whether you consider yourself creative already or are trying to improve your creative skills. 

Check out this interview with Questlove, “In Pursuit of the Creative Life.“  

Top 5 Creative Writing Tips and Techniques from QuestLove

Creative Quest offers a range of creative writing advice, emphasizing the creative process and artistic expression. But his top five tips for creative writing boil down to these:

Tips for Creative Writing: #1. Embrace Collaboration

Working with others can enhance your creativity and help you find new perspectives. In particular, Questlove stresses the value of working with others because it can bring fresh ideas and perspectives to your creative process. Collaboration can challenge your assumptions, lead to unexpected breakthroughs, and create a sense of camaraderie that fuels your thoughts and imagination when writing alone. Whether you’re a book writer working with an editor, a screenwriter collaborating with a team, or a musician jamming with other musicians, learning to work with a team is a key aspect of the creative journey.

Tips for Creative Writing: #2. Find Your Voice

It’s essential to develop a unique and authentic artistic voice. As Questlove emphasizes, authenticity is key in creative work. Discovering and nurturing your unique voice or style sets you apart from others and helps you resonate with your audience. This process involves self-discovery and self-expression, and he gives the creative writing advice that you should draw from personal experiences and emotions or on the observations you make about the experiences and emotions of others.

Tips for Creative Writing: #3. Continuous Learning

You must constantly seek inspiration and expand your knowledge to keep your creativity high. The book promotes the idea that creativity is an ongoing journey. Questlove suggests that you should never stop seeking inspiration and expanding your knowledge. This means being curious, exploring new fields, and being open to diverse influences. Continuous learning keeps your creative wellspring from running dry.

Tips for Creative Writing: #4. Overcome Creative Blocks

Everyone encounters creative blocks (or “writer’s block”). They are common, and everyone needs creative writing advice and strategies for overcoming these obstacles. These strategies can include changing your environment, seeking inspiration from other art forms, or simply embracing moments of boredom and frustration as part of the creative process. By acknowledging and addressing these blocks, you can keep your creativity flowing.

Check out our blog on Oblique Strategies, an app that can help when you experience writer’s block.

Tips for Creative Writing: #5. Creativity in Everyday Life

Lastly is the most straightforward of the book’s creative writing advice: find creativity in your everyday experiences! Your own life is often the best source of inspiration. Be present and observant; take note of small details; and draw from the people, places, and moments around you. Creative ideas can be born from the most ordinary of circumstances, and the ability to recognize their potential is a valuable skill.

Does Creativity Contribute to Success?

Yes! Absolutely. Questlove offers excellent creative writing advice for achieving success in the artistic fields. 

To achieve at a high level, you must consistently work on your craft. Success often comes from putting in the time and effort to hone your skills and create a body of work over time. Maybe you’ve heard the saying that it takes years to become an overnight success. Or maybe you’re familiar with the idea that something like success happens “a little a time, then all at once.” The more consistent you are, the more ready you’ll be when it happens. 

Of course, to be successful in any creative endeavor, you must have a deep passion. True success often stems from a genuine love for what you do, which can sustain you through challenges and setbacks. If you truly love what you do, you’ll have to learn to take risks at it. Push your boundaries. Success can come from venturing beyond your comfort zone, embracing the unknown, and being adaptable. In the ever-evolving creative landscape, the ability to adapt to change and stay relevant is crucial. Success often involves embracing new technologies and trends while staying true to your vision.

As you begin to build a business, an author platform, and a brand around your writing, you will have to network and build relationships. Not only for marketing, promotion, and audience connection but also for potential and opportunities to collaborate with others. Success is often intertwined with building and maintaining relationships in your creative community, which is why it’s essential among creative writing tips and techniques. Learning from mentors and studying the work of those who inspire you is a valuable path to success. Mentorship and a willingness to learn from others can accelerate your growth. There is a high value and long-term results in networking, collaborating with others, and supporting your peers. However, it is a delicate balance between the creative process and the business side of art. In this book, Questlove offers advice on how to navigate the entertainment industry, negotiate deals, and protect your creative integrity.

Lastly, try to recognize that success is not just about external recognition but also about self-awareness and self-care. It’s important to reflect on your work, maintain your well-being, and find your own measures of success.

These pieces of creative writing advice underscore that success in the creative world is multifaceted, and it’s not solely about fame or fortune. It’s about finding fulfillment in your work, making meaningful contributions to your chosen field, and continuing to evolve as an artist. Success is a journey that involves a combination of hard work, passion, and a willingness to adapt and grow.

The Invaluable Value of Creative Writing Advice

Now, I’ve highlighted some of the key elements I found in the book Creative Quest, but if you’re looking for a great read, there’s a lot more to be learned. It offers a holistic approach to nurturing and enhancing your creative process, emphasizing that it’s not just about the end product but also about the journey and the mindset. The best piece of creative writing advice is to remember that creativity is a fluid and dynamic process that can be nurtured and cultivated over time.

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Tips for Science Fiction Writers: The Importance of Technology in Worldbuilding

Fictional space craft flying through a planet's atmosphere with exploding moons or meteors on the horizon. Red/black color scheme. Demonstrates technology tips for science fiction writers.

All aspiring science fiction writers want their speculative fiction to take their readers on a journey. In the dynamic world of storytelling, the role of technology extends far beyond mere gadgets and gizmos. “Technology” can mean many things. Especially depending on context. As a sci-fi series editor, it helps to understand the multifaceted importance of technology in literature, ranging from grounding characters in their surroundings to crafting futuristic worlds in imaginative narratives. In today’s blog, let’s focus on the beating heart of many futuristic narratives: technology, unraveling the layers and discovering how technology plays a crucial importance in storytelling when writing a sci-fi novel.

Featured image in header available from Enrique on Pixabay. 

Embrace Futuristic Concepts

Science fiction, at its core, thrives on imagination. The very essence of the genre lies in pushing the boundaries of what’s possible. The most imaginative writing tips encourage you to liberate your mind from the constraints of current technology and let your imagination soar. Embrace futuristic concepts that challenge the norm and redefine the technological landscape of your narrative.

Consider the groundbreaking work of writers like Isaac Asimov and Octavia Butler, who dared to dream beyond the limits of their time. Your ability to envision and describe advanced technologies is a key ingredient in crafting a truly immersive sci-fi experience for your readers.

Build Consistent Technological Systems

While the allure of the fantastical is undeniable, when writing a sci-fi novel, you must maintain consistency in your technological systems. This keeps your readers engaged. Establishing rules and limitations for your invented technologies adds depth and believability to your fictional world. The coherence allows readers to suspend disbelief and fully invest in the universe you created.

Think of your technological framework as the backbone of your narrative. Ensure that it aligns with the rules you’ve set and remains logical throughout the story. In addition to crafting an outline to help you know how the story will develop, you might also create a glossary or keep notes on how the technological elements function in your fictional universe. Whether it’s interstellar travel, artificial intelligence, or bioengineering, a consistent technological foundation will enhance the overall authenticity of your sci-fi world.

Science Fiction Writers Must Explore Ethical and Social Implications

As you craft your technological marvels, don’t forget the human element. Consider how these advancements impact the society and individuals within your fictional world. Ethical dilemmas and societal changes may arise from the introduction of groundbreaking technologies, and readers of sci-fi are generally here for it. Don’t disappoint! 

Among my favorite imaginative writing tips is the advice to explore the intersection of technology and humanity, like some of the most memorable sci-fi stories. Philip K. Dick’s classic “Do Androids Dream of Electric Sheep?” seamlessly weaves ethical questions into a narrative about artificial intelligence and what it means to be human. Integrating such considerations will elevate your storytelling and provoke thought in readers of all ages and backgrounds.

The Best Science Fiction Writers Blend Technology with Human Elements

One pitfall of many science fiction writers is the tendency to focus solely on their world’s technological aspects and neglect the human experience. To create a truly impactful narrative, it’s essential to blend technology with the emotions, struggles, and relationships of your characters.

Consider how your characters interact with and react to the advanced technologies of their world. Use technology as a tool for character development, exploring how it shapes their beliefs, motivations, and personal growth. This integration not only adds depth to your characters but also makes your futuristic world relatable and emotionally resonant.

Research Real-world Tech Trends

One of the less imaginative writing tips but one that can’t be overstated: You must research, research, research when writing a sci-fi novel. Your narrative may exist in the realm of imagination, but grounding your story in real-world tech trends provides a solid, familiar foundation for readers to relate to. Stay informed about advancements in science and tech, and use this knowledge to inspire and inform your storytelling.

Imagine the impact of self-driving cars, genetic engineering, or virtual reality on your sci-fi world and your characters. By incorporating elements inspired by real-world trends, you not only infuse authenticity into your writing but also offer readers a glimpse into the potential future based on our current trajectory.

Avoid Technological Overload

In the pursuit of creating a technologically rich narrative, this experienced series editor advises that you learn to strike a balance. Avoid overwhelming your readers with excessive technological details that might distract from the main storyline. Instead, focus on seamlessly integrating technology into the narrative, using it as a means to advance the plot rather than overshadow it.

Consider the pacing of your story—reveal technological details gradually, allowing readers to acclimate to the futuristic world you’ve crafted. A well-balanced approach ensures that your narrative remains engaging, with technology serving as a complement rather than a distraction.

Last Tip for Science Fiction Writers: Embrace the Journey

In the vast universe of science fiction writing, technology serves as a powerful vehicle for exploration and discovery. Aspiring science fiction writers, I encourage you to embrace the limitless possibilities that technology offers in crafting your narratives. From futuristic concepts to consistent technological systems, ethical considerations, and the integration of human elements, each element plays a crucial role in shaping a compelling sci-fi story.

Remember, the journey when writing a sci-fi novel is both personal and communal. Take risks, experiment, and explore the uncharted territories of your imagination. As you navigate the cosmos of your narrative, let technology be your guiding star, illuminating the path toward a captivating and thought-provoking story.

Happy writing, science fiction writers, and may your imagination soar beyond the stars!

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Cost to Self-Publish a Book

Graphic design image of hands exchanging ebook for money; symbolizes the cost of self-publishing a book

What Does it Cost to Self-Publish a Book?

 As an editor with more than ten years of experience, I can’t tell you how many times writers have asked me, “What does it cost to self-publish a book?” Although it seems like a straightforward enough question, the simplest answer is “It varies,” but writers are seldom satisfied with that. 

You will find a range of numbers online or hear stories from other writers of what they paid. Or, stories of what they didn’t pay for and regretted not having done professionally. 

The reality is that it depends on so many factors and individual decisions, and there is no one-size-fits-all solution. The biggest factor and what the cost to publish a book really comes down to is this: How much of the work do you want to do yourself, and how much of the work will you hire out to separate professionals or purchase a package from a service? 

I don’t think I can answer every single question about the cost of self-publishing in a single blog, but for what it’s worth, I will try to provide some basic information to give you the food for thought that will help you in your publishing journey.

How to Calculate Your Cost of Self-Publishing

Let’s go through some of the common steps of the publishing process and look at how that relates to the cost to publish a book. You can learn how to execute any of these steps in the process and save a line item in your self-publishing budget, but based on your time, resources, or prior knowledge or experience, it might make sense to hire professionals for some services and take on others yourself. In hiring professionals to fill in your own gaps in knowledge or expertise, you can greatly reduce your cost to self-publish a book. 

The publication process can include:

To save money upfront, you can certainly take on any of these steps yourself. As in any startup business, the self-published author has to wear several hats and perform many duties. Of course, for the most professional final product or the greatest return on your investment, hiring professionals for some parts of the process may be the right decision.

When Prioritizing Costs of Self-Publishing…

Now, I can’t advise you how to spend your own money. Obviously, you have worked hard on your manuscript, and as an editor and book lover, I think your manuscript deserves the best that you can give it when being launched.

My main piece of advice is: Think through everything. 

Every decision you make can affect your cost to self-publish a book, especially how much you pay out of pocket. 

During the writing process, many authors continue to see their book as their baby. They have such an emotional attachment to it. At this point, it’s time to switch over and begin to see your book as a product. You have to sell it. Which means you have to begin to think like a business person and not like a protective parent. 

Don’t learn by trial and error or get halfway into a step in the process and refuse to pivot when a challenge arises. Make decisions and a plan based on the best information you can find, then remain a little flexible for the journey. Having a plan at the onset can save you time and frustration and reduce your cost to publish a book. 

And, if you can build a 10% cushion into your budget to deal with unexpected expenses, do it.

"Shop Your Comps" (Competitors/Comparable Products)

Book cover with black and white image of books on a bookcase with yellow text "Sell books"

One of the first things I learned in sales more than twenty years ago is to always “shop your comps.” Now, “comps” might be short for “competitors/competition” or “comparables,” depending on who you’re speaking with. When evaluating your costs of self-publishing, you may even have to consider that you have different comps in different formats (i.e., ebooks may have different comps than printed books, even in the same genres). 

Although I know you’re likely thinking in terms of ebooks published to Amazon KDP and other platforms, consider this when thinking about your book’s comps: 

If you walked into a literal bookstore and found your book on the shelf, what would you expect to find next to it? 

If your book is a historical romance set in 1860s London with a feminist female lead character…then you should shop for other historical romances set in the 1860s (hopefully in London), with feminist female lead characters. If your book is a memoir that describes your rags-to-riches success story, your comps are other memoirs that detail the same kind of success story, perhaps even from someone with a similar background to yours. 

It may seem like a strange way to shop or a strange step to take when considering the cost to self-publish a book, but this is how your readers are finding books. If they leave a review or show interest in a particular book, the algorithm on Amazon will show them more products that are similar to ones they’ve already liked. Readers also tend to browse by categories and genres of books they already know they like, so if yours stands out “next to others on the shelf” (literally or metaphorically), your book has a better chance to sell. 

So, go to Amazon and search through the categories and genres in which you plan to publish. Don’t look just at the big-name bestsellers you’ve heard of before, but filter your search results to see the best-reviewed books, most recently released books, and books recommended based on others you’ve read or know.

Your book should “look” as much like the competition as possible. Take note of the cover artwork and interior design and formatting (if you can get a sneak peek into the book). Take a look at the back cover or online description and author bio.

Apply a critical researcher’s eye. What do you see? 

Is it common to see clean copy in the book descriptions or do you notice typos and errors? Do the covers look similar? Can you tell which covers are professionally designed and which are more likely done by an amateur? Are a lot of your comps published in multiple formats (ebook, audiobook, paperback, hardcover, etc.), or is it pretty common to see others in your category exclusively in one format? What do the reviews look like? What are some readers’ biggest points of praise and complaint? 

 Then in big-picture terms, start applying these ideas to your thoughts on budget and cost of self-publishing. Addressing or thinking ahead about the following can help you reduce some of those costs or get the most value out of what you pay: 

  • What would make your book more appealing than theirs? 
  • How would yours stand out as different? 
  • Could you add a subtitle? (are subtitles common in your genre?) 
  • How can you craft your online description/back cover copy to both fit in and stand out among your comps? 
  • Would a blurb from another author in your genre be helpful or welcome or do the readers in your genre steer clear of that kind of promotion?

Remember, these books are your competition. Readers might scroll past one of these books and land on yours. What is going to make them click to “Read More”? And then, what is yours going to do differently to make them put it in their cart or on their TBR list?

While the cost to publish a book is the main focus during these recon missions, this information-gathering will be helpful in every step of the publishing process, and by doing this at the beginning, you can save yourself valuable time and avoid common errors or holdups that other authors run into.

Keep Track!

Take notes. Keep a list of resources, videos, links, articles, and advice that answers your questions or provides useful tips. Use bookmarking in your web browser and other apps to keep track of your own resources for info on the cost of self-publishing.

Whatever your process is, take notes, and once you’ve eliminated an option as no longer being right for you, strike through it, but don’t delete it. It’s then easier to see what options you’ve evaluated and rejected so when someone recommends it to you again, you won’t think to yourself “Wait, have I looked at that already?”

Editing Costs When Self-Publishing

In the traditional publishing model, the publisher pays the associated editing cost to publish a book. But as a self-published writer, you will have to decide how much editing you would like to do yourself and how much you want to pay someone else for. 

Traditionally published manuscripts typically receive four rounds of editing, at least. Usually, the author’s agent has offered developmental editing and assistance with revising and rewriting before the manuscript is even pitched to a publisher. Then, the publisher may ask for their own round of developmental edits and revisions – including removing or adding characters, rewriting entire scenes or storylines, or completely revising the beginning or ending of a story. 

Then, the manuscript typically goes through a round of line editing followed by a round of copyediting, to remove any word choice errors, reduce repetitive language, and fix grammatical or technical problems. These steps may be repeated. 

Then, after formatting by the graphic designer, the manuscript typically goes through a round of proofreading to ensure that no errors made their way into the publish-ready manuscript (called the “proof”). Once the proofread is complete and corrections are implemented, the book typically goes off to the printer. 

Now, while readers expect self-published books to be as error-free as traditionally published books, all those rounds of editing certainly affect the cost of self-publishing. Paying a fair market rate to each of the editors may be out of budget, which is why many self-published authors choose to improve their self-editing skills and edit their own material, or to skip one or more steps in the process. It’s totally understandable. 

Check out our blog with a Self-editing Checklist for Authors.

Check out our blog on Using Ctrl + H to Self-Edit Your Writing.

On the other hand, that’s often why self-published books are derided as being poor quality compared to traditionally published books. Many readers expect a book to be completely error-free once it reaches their hands; they are accustomed to books that have been put through many rounds of edits. Readers may be especially sensitive to typos, unclear or repetitive sentences; awkward, stilted, or wooden dialogue; unchecked facts; and a number of other inconsistencies and sloppy inaccuracies in self-published materials on Amazon KDP and other platforms. 

Of course, as an editor, I’m biased. I think it’s absolutely worth including the cost of editing in your budget of cost to self-publish a book. I 100% recommend that every book go through *at least* a line edit and a proofread. If possible, these two duties should be performed by different people. A line edit before the formatting layout helps catch errors of clarity or meaning; a proofread after the layout helps catch errors of readability. 

The first cut-off number recommended professionally is 40 errors per 1,000 words. Before you move into the formatting/layout stage, get your manuscript below that number and it’ll be “mostly clean.” For a proofread, you want to keep reviewing it until your error rate is lower than 1 error per 1,000 words. 

Some ways to reduce this cost of self-publishing include beta readers, group workshops or critique swaps, or run your draft through the Editor tool in MS Word, Grammarly, or ChatGPT. The real-life people can help you catch errors in meaning and ideas that would engage the reader, and the technical/AI tools can help you catch technical errors and correct grammatical problems. Doing both of these before handing it off to a professional editor can help reduce your time, frustration, and cost to self-publish the book.

Cost of Self-publishing: Design

Man in grey shirt handing money toward the camera; symbolizes design costs of self-publishingIncluded also in the cost to publish a book are the visual elements,  pictures, graphics, and other details that contribute to the look and presentation of the finished product. Design costs include the creation of art and organizing the layout of both the book’s interior and exterior. This means the book’s front cover, spine, and back cover, as well as a book jacket if you’re publishing a hardcover book. Then of course, the text must be laid out and formatted. 

Design costs will vary depending on the complexity of your book. Again, you might be able to learn to do some or all of this yourself. Some graphic designers offer services to illustrate and create both interior and exterior of the book; others specialize in one or the other. In addition, if you envision your book having multiple images–photos, charts, graphs, maps, or illustrations–there may be additional costs associated with producing, editing, or formatting them. 

And, this is not to get into too much detail about graphic novels, cookbooks, and illustrated kids’ books–anything with specialized fonts or additional graphic work for the text will add to the cost to self-publish that book. If you’re planning to publish an image-heavy book, expect costs that text-heavy books wouldn’t encounter. And of course, whether you’re publishing via Amazon KDP, multiple ebook platforms, or in print can affect your total costs. 

Need a referral for a professional graphic designer? Please ask! SRD Editing Services is happy to provide referrals for professional graphic designers and book cover artists with whom we’ve worked before. 

Some common design-related expenses include:

Front Cover Design

The front cover design is essential for attracting readers, who will expect a professional look that speaks to your book’s genre, themes, and central plot. You can create a cover yourself for free, but I wouldn’t recommend doing so without experience, unless you utilize the templates and tools available from a program such as Book Brush, which is designed for authors who may not have graphic design knowledge. 

If you choose to hire a professional, you can buy a pre-made template or have a design custom-created to your specifications. The cost of this self-publishing step can range from less than a hundred dollars to over a thousand. Typically, as with many creative products, you “get what you pay for,” but you always want to look for a designer with a wide portfolio that includes examples in your book’s specific genre. If you find a designer who offers multiple revisions, that is usually best, as it allows for some trial-and-error to help you get the exact right cover for the book you’ve worked so hard on.

Interior layout

This may be one way, if publishing only an ebook, you can reduce the cost to self-publish a book. Free ebook formatters like those at Reedsy or the open-source software Calibre allow writers with very little design experience to get the job done, with a low-enough learning curve. 

However, if you want a print version of your book, it is more difficult. Or, if you’re concerned about digital rights management (DRM) and keeping your ebook secure (especially on Amazon KDP), you may want to consider if the cost of hiring a professional is worth it. 

Whether you’re publishing in ebook or printed, a book’s interior layout should be polished. For a printed book, this means things like page numbers and running headers and footers in the right places. For an ebook, it means details like creating an auto-formatted table of contents and hyperlinking it to each corresponding chapter. There are also considerations such as adding and finalizing the front and back matter and adjusting page layouts for bleed and trim sizes on printed materials. 

If you are authoring a children’s book, graphic novel, or other printed book where you want to purchase a unique font for publishing, you may have to pay the graphic designer who owns the font copyright for licensing rights to use their font. 

A professional will take care of all these details and more, and this cost of self-publishing will vary from a few hundred dollars to over one thousand, depending on the person’s experience and the scope of work.

Illustrations & Graphics

If your book requires illustrations, charts, graphs, or other graphic elements, you may need to hire an illustrator or graphic designer. There are some free tools to help nonprofessionals, such as Canva or Inkrate, if you’re inclined to try making some imagery yourself. This cost to publish your book will depend on the number and complexity of the visuals. 

Look for free templates or pre-made stock graphics, photographs, and illustrations that are available for commercial use with or without attribution. Always check the licensing rights on any images you’d like to use, as some images may require purchase. 

Ebook Conversion

If you’re publishing both a printed and ebook version of your book, some graphic designers will include an ebook file (.epub) along with your formatted files for printed books. Other designers will charge for a separate conversion of your ebook files. Of course, you can also perform the ebook conversion yourself with free software, although your options may be limited. 

The cost of ebook file conversion ranges from less than one hundred to several hundred dollars, depending on the specifics. SRD Editing Services offers ebook formatting for authors interested in an ebook-only formatting service.

Publishing, Distribution & Promotion Costs to Self-Publish a Book

In traditional publishing, the costs of publishing, distribution, and promotion are largely taken on by the publishing company. The author may have some promotional costs associated with travel or public bookings, but typically they may be eligible for reimbursement either from the publisher or on their taxes. 

The publishing cost to self-publish a book is substantially greater. You take on all of these responsibilities, as well as their associated expenses. Consider the following in your publishing, distribution, and marketing and how they might affect your budget.

ISBNs

Every version of every book needs a different ISBN. That means that when you publish a single title, each format of the book should be assigned its own ISBN: hardback, paperback, ebook, audiobook, and so on. ISBNs should be purchased directly from Bowker, and they can be purchased in bundles of 10 or 100, so if you know you’ll be publishing multiple titles and you’ll want them in various formats, you can buy in bulk. ISBNs never expire and can be saved until whatever publishing date you choose to use them. 

To keep publishing costs down, many authors will release their book first in ebook format only. If you plan to keep your distribution narrow and exclusive to Amazon KDP, Amazon will provide you with a free ISBN. If you plan to “go wide” with your distribution and make your ebook available on multiple distributing platforms/channels, go ahead and purchase an ISBN that’s not Amazon-affiliated.

Copyright Costs

As noted in the design section, if there is a specific copyright-protected font or image that you’d like to use in your published book, you may have to purchase the licensing rights for your commercial product (i.e., your book). Additionally, if you include song lyrics or want to quote large sections of copyrighted material from another author, you may also need permission from the copyright holder to reprint the material. At times, permission may be granted simply by asking and including attribution to the original copyright holder. At other times, republishing rights may have to be purchased. Consider your material and whether those republished sections are vital to the message of your text when evaluating the cost of self-publishing your book.

Print-on-Demand Costs

The great thing about print-on-demand (POD) publishing is that there is no inventory for you (or anyone!) to stock. A book is printed only after a customer clicks “Purchase” and inputs their payment information.

The downside to that model is that there is no discount for “bulk printing,” and overall, each individual book costs more. 

(OK–you can often do a bulk order and print several books at once for a discount; there are exceptions to these general statements, but your consumers will pay more on average than they would if your book was available via a big retailer or traditional publishing distribution channels.) 

Because of most distribution websites’ pricing structures, the author can choose how large of a profit margin they want to allow themselves, essentially deciding how much of the printing cost to self-publish their book they want to pass directly on to the customer. But then, this can affect sales. As your book’s price increases, it’s possible that the sales number will decrease. 

You can keep the cost of printing down by researching the options and implementing a few strategic choices to control costs. The size of your printed book (5×8 vs. 6×9, for example), the type of paper, and the number of photos or illustrations can all affect the price of your book–even more so if they’re color. 

 So if you’re planning to offer a paperback or hardback version of your book, make sure you research your print-on-demand options and what extra steps will be necessary to maximize the value of your self-published book.

Advertising, Marketing, & Promotional Materials

This is–believe it or not–probably the easiest and quickest way to spend money on your book. A sneaky line item in the cost of self-publishing that can balloon far beyond its initial estimate. There are so many companies and individuals out there promising to sell a million copies of your book if you’ll only spend a certain amount on ads, and newsletter plugs, and email marketing, and a book trailer…

White cartoon person pushing down dynamite hooked to orange text "budget" in the background; symbolizes "blowing up" the budget cost of self-publishing

When thinking about what kind of marketing and promotions you want to do for your book, consider how you can repurpose free material already at your disposal. Can you use images you already paid for? Can you make use of free stock video and video editing software? Do you have a friend who is willing to give you word-of-mouth promotion to their wide social media following? Of all the ways to reduce the cost to publish a book, this one deserves your attention and a detailed plan. 

Consider the various ways you can market, advertise, and promote your book for free or very little cost. It’s easy to invest thousands into marketing a book and ending up with no sales to show for it; make sure you have a plan, wisely consider all the factors, and have clear criteria for what determines the moment you’ll “pull the plug” and discontinue a potentially draining and ineffective marketing strategy.

Self-Publishing Services Can Reduce the Cost to Publish a Book

I recommend you look into the self-publishing services companies and see which offers the services you want at the price point that works for you. A full self-publishing services company should handle printing, distribution, and maybe some marketing for you. But marketing services can vary greatly as well. So before you spend a dime, take the time to do the research and craft a plan that lets you minimize your effort and maximize your results once it’s time to publish.

Conclusion: Results > The Cost to Self-Publish a Book

For you, “results” could mean a sense of accomplishment, checking an item off your bucket list, or the thrill of seeing your name on the cover of your very own hard work. No matter what the cost to self-publish a book is, if it’s the right choice for you, you’ll be willing to pay what it costs to bring your dream into the world.

Contact SRD Editing Services

Got more questions for the editor about the cost of self-publishing your book?

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Types of Beta Readers & Sensitivity Readers

Man holding A and B letters symbolizing types of beta readers and deciding between them

Has someone recommended that you look into getting a “beta reader” or  “sensitivity reader”? You may not realize initially, but they are both types of beta readers that focus on different things in your writing.

If you’re wondering what they are and why they’re helpful, the short answer is that they make your book better.

What Is a Beta Reader?

“Beta” might sound like a techy term, and there’s a reason for that.

In the software industry, programmers release “beta” versions of new programs that a select group of users to test the product. You might have heard about a “beta” version of an app. Basically, “beta” means that issues are still being worked out before the product becomes available to the wider public.

Books are no different! In publication, we add the word “reader,” and a “beta reader” means someone who reads an unfinished draft of a writer’s manuscript in order to give general feedback.

Like an advanced screening for a movie or a dress rehearsal for a performance, the beta reader gets the chance to put their professional or honest consumer opinion into the writer’s ear before the process has been completed. The writer can then make their suggested changes if they choose. 

Over time, there have developed two main types of beta readers: those who focus on readability and the reader experience and are typically just known as “beta readers,” and those who focus on issues of cultural or personal sensitivity, typically called “sensitivity readers.” 

What Is a Sensitivity Reader?

A sensitivity reader is a specific type of beta reader that reviews an advanced copy of a book as needed, paying attention to any especially sensitive topics that are touched on.

If your manuscript deals with any potentially triggering topics, a sensitivity reader is a must. Even if you don’t think your book touches a triggering topic, ask your beta readers to keep an eye out for anything that could be considered troublesome. If any of them reports a sensitivity issue, take the next step and hire a sensitivity reader. 

Sensitivity readers often specialize in a particular type of “hot button issue” or topic. For example, a person with a disability may read a book to see if characters with disabilities are being portrayed in a compassionate way. The reader can help the writer avoid any potential backlash or negative reaction because of a problematic portrayal or treatment of a particular character.

Beta readers and sensitivity readers can help with issues of plot, story structure, character believability and arc, and more. Both types of beta readers might be able to spot issues of race, gender, sexuality, ageism, classism, stereotypes, or political biases, all of which are important to consider in the final stages of drafting.

Why Are there Different Types of Beta Readers?

As you already know, publishing a book is a huge collaborative effort. In order to produce the most well put-together product possible, several people will contribute. If many hands make light work in most things, then many eyes make fewer errors in publishing. 

Are Beta Readers and Sensitivity Readers Needed if You're Self-publishing?

Look, I won’t tell you that you “need” both  types of beta readers. But ask yourself this: do you intend to make money with this book?

If so, you should know that it’s common practice to have manuscripts with traditional publishers go through multiple rounds of development with editors, and at least one round of advanced readers. In today’s traditional publishing market, both types of beta readers are becoming more common and crucial. And, like it or not, traditionally published books (and high-quality self-published work) will be your competition if you’re self-publishing.

If you don’t really care if your book makes money, next ask yourself if you’re interested in your book being the best version of itself it can be. If you want it to shine, and you can honestly and openly accept constructive criticism and work with it, then yes. Do the thing!

If you don’t really care about making money or publishing an A+ quality book, then the last question to consider is: do I care if my book offends people?

Chances are, if you don’t care about it being the best version of itself, then most readers will find a reason to quit reading it in the first 10% of your word count. But, if someone does keep reading after that, do you care if it hurts their feelings or offends them or if they find it insensitive? What if they go online and talk trash about it?

If you want to avoid setting somebody off and dealing with the fallout, consider at least one of both types of beta readers at least. Having two or three people who are members of your target audience should tell you enough to raise any urgent red flags. And if there are many red flags, the next step might be to work with a developmental editor.

Got more questions about both types of beta readers?

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Write a First Draft: Tips for Fiction & Nonfiction Books

Closeup hands on laptop keyboard for write first draft tips

You may have heard that there’s no wrong way to write a book. When you make the goal to write, first draft jitters can easily get in the way, and without a plan or solid options for your process, you won’t know what’s right or wrong. 

Many pieces of advice for finishing your book first draft won’t work for you. Some advice will only work some of the time, and some advice may even cramp your style or bring on writer’s block if it’s not right for you. 

Let’s review some of the options to help you write your first draft of a book.

Maybe we should separate fiction and nonfiction. There’s similarities of the two, but distinct genres pose different challenges and require different approaches.

Tips to Write a First Draft of a Nonfiction Book

1. Find a Theme

You need a hook. A central theme. Something interesting and fresh that grabs the reader’s attention. It’s the only way to move them through the details of events to understand the story. Your particular insight should be striking and unique. 

For the first draft of a book, think about what makes your book stand out from others like it. Maybe yours is the first to approach a topic from a specific intersection of identities of race, culture, gender, and age. Maybe yours is like another popular advice guide or self-help narrative out there, except yours is aimed to people in a specific occupation or area of the country. 

Whatever it is that makes your book unlike others, identify and lean in when you write your first draft. It can help when you’re stumped about what to write next. Think: how can I connect this back to my central theme? Then, write to answer that.

2. Gather Information

For a nonfiction book first draft, begin with research using public information available online. For a genre such as memoir or biography, you will need to go beyond online materials, but for the first draft, you can begin with widely known sources. For genres such as self-help, spirituality, or some kind of guidance book, you can use internet sources for basic terminology or general background knowledge on complex topics. 

As you write your first draft, keep track of sources. Depending on the citation style your publisher (or you, if you’re self-publishing) chooses, there can be large variations in citations for books, interviews, websites, videos, etc. And if you want to quote from large sections of other people’s copyrighted materials, you may need to reach out to the publisher for the appropriate permissions to reprint. So keep your notes organized as you write a first draft.

3. Write in any Order

When you write the first draft of a book, start with an outline to at least get going. It doesn’t have to spell out everything, but at least have a beginning, middle, and end plotted out. Some people are “pantsers” and don’t do outlines well. Honor your process but start with something. 

However, no matter how detailed your outline, you don’t have to write it in order. If you’re writing real-life events, no need to start at the beginning and go through each scene chronologically until the end. Write according to what you remember, the scenes you’re most passionate about, the time allotted. Write according to whatever system works best for you but don’t think you have to go from beginning to end. You can skip around until everything is drafted.

Tips to Write Your First Draft of a Fiction Book (Novel)

1. Find a Theme

For a fiction book first draft, focus on characters and plot. Some elements of your characters will be similar to established characters in other books, film, or TV. What makes yours different? Some tropes in your plot will make it similar to existing books that people love. How are you going to implement a twist or be entirely true to that plot device, in support of your story’s central theme? Focus on making your story unique. In later drafts you will hone in on specifics of word choice and details that make your book poetic, literary, or grammatically correct, but when you write your first draft, keep in mind what about these people or their adventures will keep your reader along for the ride.

2. Gather Information

Oh! The rabbit holes you can go down when you write first draft material. Don’t fall into the trap! For your first draft, use brackets and margin comments to mark areas that you can go back to later, especially if you need to research. If you write historical fiction or sci-fi, you may find yourself needing to look up details of complex events, theories, or devices, but keep the writing mindset focused in creative energy. Simply note for yourself where you should research details when the time comes. 

For the first draft of a book, the details matter less. Keep a clear vision of your story and characters and focus on narrative arc. The research to fill in specifics can come later.

3. Write in any Order

One fun way to approach creative fiction writing for your book first draft is to write when the muse speaks to you or when inspiration strikes. Sometimes you can picture a scene perfectly in your mind, and the dialogue just comes to you. Sometimes you hear voiceover or narration for a particularly poignant moment, and you don’t know what has happened to make the character feel like they do, but the words are flowing from your mind to express that disconnected, unprompted feeling. You don’t know where the paragraphs fit into the story, but damn it, you know they are beautiful, and you will fit them in. 

All of that is okay. When you write a first draft, you should put together stories in whatever method works for you. If it’s a bit like a scrap heap that turns into a patchwork quilt, then so be it. The time may come to string those random scenes together to make a story, but for the first draft of a book, you only have to get the random scenes written down.

Conclusion: To Write a First Draft, Be Prepared & Open to Creativity

Don’t be intimidated to write your first draft of a book! It’s a huge achievement, and you’re going to do great. As long as you keep putting down one word after another, you’ll end up with a whole book manuscript before you know it. The key to success is to be prepared with an outline and some basic research, then be open to creativity and your own writing process, as long as you’re keeping the central theme of your book in mind.

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Book Cover Design for Self-Publishing Authors with Book Brush

One black book and one white book with blank covers leaning against a brick wall. Discussion on book cover design

As a blog for writers and editors that generally focuses on how words are put together in a text, we don’t usually discuss much about book cover design, unless we’re talking about back covers and what goes on them. But today, let’s talk about front cover design.

I recently stumbled on Book Brush, and I have found it to be very useful and user friendly for a new author who is looking for easy-to-use and inexpensive software to help them design their own book covers and make their own social media and other marketing images for book promotion. This is not a paid nor affiliate promotion; I’m just telling y’all about a tool I like that I thought you might also like.

First, Consider Hiring a Professional Book Cover Designer

So, most of the time, I will tell you that hiring a professional is worth it, for a number of reasons. 

I understand why many people will choose to design their own book cover rather than hire a professional. Generally, the biggest concern for a self-published author is budget, and professional graphic designers and book cover design packages aren’t always budget friendly. 

If you have the option to hire a professional, you might consider it for the following reasons and evaluate them based on some of these criteria. If you are going to move forward with designing your own book cover, realize that you, as your own designer, will be held to the same standards as these professionals. Readers will expect a professional-looking cover, no matter whether the book had a huge team putting it together or was a one-person job. 

If you want to hire a professional and you’re working with SRD Editing Services on your manuscript edit, we can recommend several high-quality, experienced, and talented book cover designers. Please just ask!

Reasons to hire a professional book cover designer

  • First Impressions Matter: Your book cover is often the first thing potential readers see. A professional cover makes a positive lasting impression, increasing the likelihood that readers will look closer.
  • Genre Expectations: Professional designers are familiar with genre conventions and understand what visual elements are effective for different types of books. They can create a cover that aligns with the expectations of your target audience. This can contribute to better marketability and reader engagement.
  • Eye-Catching Design: Designers have the skills to create visually appealing and engaging covers that stand out in a crowded market. They know how to use color, typography, and imagery to capture attention and convey the essence of your book.
  • Technical Expertise: Professional designers have the technical expertise to create covers that meet industry standards for resolution, color accuracy, and print quality. This is crucial for both digital and print formats.
  • Saves Time and Frustration: Designing a cover involves various technical and creative aspects. Hiring a professional allows you to focus on writing and other aspects of publishing while ensuring that your cover is in capable hands.

But, if you are up for the challenge, you feel like you might have a little fun with your book cover design, and/or you are looking to save money with a less-expensive option than hiring a professional, BookBrush might be realistic option for you. 

A Little About Book Brush

Book Brush is a platform that provides tools for authors and publishers to create eye-catching graphics and promotional materials for their books. It is designed to help authors with marketing by offering a user-friendly way to create professional-looking images for book covers, social media posts, advertisements, and other promotional materials.

They offer customizable templates, a ton of book-related graphics, and the ability to add text and other elements to create eye-catching book cover designs. The website (no app) aims to simplify the process of creating promotional materials for authors who may not have graphic design expertise.

So sign up for free and check them out! 

What to Consider when Designing a Book Cover

Designing a compelling book cover is crucial for grabbing readers’ attention and conveying your book’s genre, central themes, style, and the experience of reading it. (No pressure though!) 

When designing your own book covers, here are some best practices to keep in mind:

  • Understand Your Genre:
    • Different genres have distinct visual conventions. Research successful book covers in your genre (“Shop your comps”) to understand common design elements and colors.
  • Eye-Catching Typography:
    • Use clear, legible fonts for the title and author name. Ensure the text is large enough to read even in thumbnail size but proportional to the overall imagery on your cover and of the same “mood” as your book’s central themes. Experiment with fonts that match your tone and genre.
  • Balanced Composition:
    • Create a visually balanced book cover design by placing elements strategically. Consider the rule of thirds, where important elements are placed along the intersections of an invisible grid.
  • High-Quality Imagery:
    • Use high-resolution images to maintain quality, especially for print covers. Images should be relevant to the book’s content and convey the mood or theme effectively. See below for more about stock images, but whenever possible, try to use unique images that you created yourself or that you have permission from the artist to use.
  • Color Palette:
    • Choose a color palette that reflects your book’s mood and genre. Consider color psychology to evoke specific emotions. Ensure the colors are visually appealing and work well together.
  • Readable at Thumbnail Size:
    • Many readers discover books online, so your cover should be recognizable and readable even in small-size images. Test your design by reducing it to thumbnail size to ensure it remains effective.
  • Test with Your Target Audience:
    • Before finalizing a cover, gather feedback from your target audience. You can use social media, author forums, or beta readers to get opinions on different design options.

Remember that a book cover is a powerful marketing tool, and investing time and effort into its design is an essential part of the overall book publishing process.

Want to read more about fonts?

Check out these two articles to learn more about what fonts are recommended for different book genres, both for book cover design and for the interior text. 

Best Fonts for Your Self-Published Book

Best Fonts for Books: The Only 5 Fonts You’ll Ever Need

Book Cover Design Tip: Use Stock Photos with the Right License

Without getting into too much detail about copyright law and intellectual property rights, (go research it for yourself), it is important to say that if you’ll be using artwork for your book cover, it should either be artwork that you created yourself (including a photo you took yourself), or an image that you have permission from the artist, photographer, etc. to use. 

If you don’t have a picture to use for your book cover design, you can’t just do an online search and download/screenshot whatever image you’d like to use and then cut-and-paste it into place. That’s in violation of the law. Instead, you can check for stock photos or artwork of the image you’d like to use. If the licensing rights include commercial publishing, you can use it for the cover of your book without having to seek additional permissions. Some images you might have to pay to obtain the licensing, and others you might be able to download for free. Some you can use “with attribution,” meaning you have to name the artist for the cover image on the copyright page or other public places. 

Here, I have put together a list of some platforms that I have personally used where you can find stock images for your book cover design and other marketing needs:

  • Pixabay: Pixabay provides a wide range of free images, vectors, and illustrations. It’s important to check the licensing terms for each image, as not all content is free for commercial use without attribution.
  • Pexels: Pexels is another platform that offers high-quality, free stock photos for commercial use. It’s important to review the licensing details for each image.
  • Adobe Stock: Adobe Stock is a premium stock photo service with a vast collection of high-quality images. While some images are free, many require a purchase or subscription. Make sure to review the licensing options.
  • Shutterstock: Shutterstock is a popular stock photo site with a vast selection of images. It is a paid platform, and you need to purchase a license for each image you use.
  • iStock: iStock is another paid stock photo site owned by Getty Images. It offers a variety of high-quality images, illustrations, and videos for purchase.
  • Depositphotos: Depositphotos provides a range of stock photos, vectors, and videos. It operates on a credit-based system, where you purchase credits to download images.

In fact–spoiler–I may use one or more of these for the images for my blog. Although some images are my own or I have permission, a lot of them are stock images. 

When it comes to using images or other content that you personally do not own, it never hurts to speak with legal counsel and seek professional advice on copyright law, intellectual property rights and protections, and licensing specifics. 

Easy Book Cover Design Software: Book Brush

Logo for Book Brush, a cloud-based book cover design software
Book Brush: Cloud-based, easy-to-use book cover design & marketing software

So I’m no graphic designer. But I have had to learn how to do some basic work in graphic design programs. Designing your own book cover is no joke. For some people who are visual artists and who pick up computer interfacing quickly, graphic design may come naturally and be a piece of cake. For me, I was glad when I found Book Brush and could actually use their tool in an easy and intuitive way. 

The templates help with shortcutting to genre specifications and expectations, and the user-friendly tools make things like font choice and placement (and color specs) simple and straightforward. 

And the price is right too. For less than what you would pay a professional book cover designer for a single project, you get a package with Book Brush that allows you to create and publish multiple covers. Overall, I think this is an excellent publishing tool that self-publishing authors should invest in if it’s the right choice for them and their publishing journey. 

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Write like Great Classic Authors: Ernest Hemingway

Ernest Hemingway, beloved among American classic authors
 

“Write the truest sentence you know.” Then do it again. One sentence at a time, you write your story. Classic authors knew that there was nothing like capturing and keeping a reader’s attention, and titan in the literary world, Ernest Hemingway, knew and performed this trick better than most. 

Known for his concise, powerful prose, Hemingway’s advice to write one true sentence at a time encapsulates the essence of his approach to storytelling—one that hinges on the authenticity of every sentence.

In the world of Hemingway, the narrative unfolds one sentence at a time. Sentences pull the reader along, like links in a chain, to the conclusion, toward the truth. Truth is elusive and can change from sentence to sentence, but if a writer focuses on making each sentence true, the reader will be pulled along. Every writer, (yes, even the classic authors), desires the command of readers’ attention. 

By crafting each sentence with a commitment to truth, the writer threads truth throughout the entire tale.

Black and white photo of classic authors Ernest Hemingway sitting at desk with mountains in the background
For more about the life of Ernest Hemingway, visit the Hemingway House website

How Do I Write Like Hemingway?

To write like Hemingway, focus on simplicity and brevity. Use short, direct sentences and avoid unnecessary details. Embrace the “show, don’t tell” principle, allowing readers to infer meaning from the narrator’s descriptions, character’s expressions or movements, or vague dialogue. 

Develop a keen observation of life and draw inspiration from your experiences. Consider keeping a creative scrapbook and collecting quotes, thoughts, notes, and ideas from authentic experiences you have in real life. Hemingway’s writing incorporates a deep understanding of human emotions, so use real emotions and behaviors you see in the world as inspiration for honest emotional resonance in your writing.

How Do I Edit like Hemingway?

You can also keep this commitment to truth in mind when editing. Hone your editing skills to eliminate redundant or flowery language. Remember that every sentence should be able to stand true on its own. Every sentence should contain something that moves the story forward and keeps the reader engaged. Otherwise, does the story need it? If there’s no truth or value in the sentence, can it be cut? 

Classic authors invested less time in editing than they did in writing, because, when writing everything by hand, they were often more likely to decide on their word before committing it to paper. In today’s world of Backspace and Delete All functions, you may find yourself spending more time editing than Hemingway would have. Technology makes both writing and editing simpler than ever before.

Classic Authors Were People, Too

Of course, Hemingway’s life and work are not without controversy. In particular, his portrayal of women was *ahem* questionable (and certainly never passes the Bechdel Test). I am not the first to criticize him for being stereotypical, limited, and reflecting traditional gender roles. Like any author, his perspective is limited, and his version of the truth in the world is biased. 

But take from him what you can and build a brighter future. 

As you hone your craft as a writer, let this spark of wisdom from one of the great American classic authors serve as a guiding light. Hemingway’s words of wisdom can be a reminder that every sentence should bear the weight of truth. Remember that each sentence not only contributes to the story’s progression but also must captivate and enchant the reader.

If you want to write with a similar brilliance to Hemingway, don’t forget how important it is to develop your own style and voice. Be brief. Wield words with precision and impact. But know that Hemingway is asking you to do more than that: he asks you to deliver profound truths in the most economical manner. Let your sentences resonate, reverberating with the authenticity of human experience.

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How to Face Rejection as a Writer

Sign saying "You got this" next to black computer screen. To remind writers how to face rejection.

Like any creative, you will hear a multitude of advice on how to face rejection as a writer. No two pieces of advice are going to work the same for any one person; each person will have to find what helps soothe or motivate them after a rejection of a draft submission, no answer or ghosting from an agent, or the negative reviews that readers can leave online which may feel like a rejection of the writer’s ability. (Oof.) 

No matter what type of writer you are, you face rejection. And here’s some tips to help you face it head-on when it occurs.

Tips on How to Face Rejection as a Writer

Remember that you are not your art. Your art is not you.

There are a thousand stories out there about rejection. Thousands. Millions. Of people who know exactly what it’s like to be told they’re not good enough in some capacity. Sure, it’s one thing to be told we’re being rejected for a job or a relationship, but when your art is rejected — something so pivotal that some people identify themselves wholeheartedly with it — that might be a whole other sub-variety of rejection unto itself.

Learn not to identify with your art.

All artists must learn to detach from their creative work. To learn how to face rejection as a writer, it’s crucial to understand that you are not your art, and your art is not you. Art is subjective, an expression of yourself but not all-encompassing and totally defining. Rejection by one group (or one agent!) is just one step in the process of allowing your art to express all aspects of yourself in an authentic, genuine, honest, and valuable way.

Understand the value of rejection & testing your mettle

If you are never rejected, how do you know your true worth? Like a child whose parents always say yes — Veruca Salt comes to mind — you will never know the depth of your own disappointment or have the chance to test your resilience if not rejected. If you are accepted everywhere, are you ever truly welcome? And have you done good by humanity and by your own potential, if no one has ever really turned you down?

Writing often requires persistence and tenacity. The ability to keep submitting work despite repeated rejections is a hallmark of successful writers. Many famous authors faced numerous rejections before achieving success. Learning how to face rejection, how to persevere through, is essential for any writer looking to make a lasting impact. Rejection provides an opportunity to test what you’re made of, find out more about yourself. 

Release your creation

Roland Barthes and his essay “Death of the Author” is something that perhaps only lit majors spend a lot of time with, which is a shame for everyone else. At its core, the central idea is that you, as an artist, must cut loose your art from yourself; it must stand on its own in the world. You cannot follow it around and explain away its shortcomings. You cannot fight its battles against critics. Once you release it, you can’t constantly explain or defend it; it must fend for itself. 

Rejection of your art, your perspective, your creative expression is an opportunity for growth, perspective, and self-evaluation.

Become responsive to rejection

Rejections can lead you to explore new avenues and take creative risks. If one type of writing consistently faces rejection, an adaptable, flexible, and creative writer may be encouraged to try different genres or styles, expanding their horizons and ultimately becoming more versatile and well-rounded in their craft. Respond to the situations you’re in; adapt and overcome as necessary. One (very successful) way how to face rejection as a writer is to write to your strengths; it just might take some trial-and-error to figure out what they are.

Accept misunderstanding

Understand and realize that being misunderstood is inherent in the creative process. Some people won’t “get it,” and their rejection can help you become a better artist. That’s normal and expected. 

As a writer, if you want the reader to understand what you mean, it’s your job to be clear in how you express yourself. (Of course, this doesn’t mean you have to be straightforward, do things the same way as others, or cut short your poetic expression, but if you want someone to get it, it’s your job to give it to them.) However, not all art is for everyone, and as the great Bob Marley said, you can’t please all the people all the time.

But rejection offers you the opportunity to develop your character and emotional maturity, the opportunity to evaluate an aspect of your art that perhaps you did not evaluate before. It encourages humility, patience, and the ability to accept that not everyone will appreciate or connect with your work. These qualities can be valuable not only in writing but in life as well.

See if the rejection can help you shape into a better writer. Then, take what is useful and disregard what is not. Wish the rejector well and keep moving. Not all things are right for all people all the time. You can’t, and won’t, please everyone.

Seek social support

Learning how to face rejection as a writer can also involve seeking support and feedback from peers, writing groups, or mentors. Sharing experiences and receiving constructive criticism from fellow writers can be immensely beneficial.

A Growth Mindset Is the Top Method for How to Face Rejection

Overall, let’s underscore and re-emphasize the idea that rejection is a fundamental part of your growth and self-discovery. Learning how to face rejection is essential in a writer’s journey. Rejection fosters growth, resilience, and the ability to navigate the subjective world of literature, not to mention content creation and all creative expression. Learning to prepare for, anticipate, and not be deeply wounded by rejection will enable you to persevere and ultimately succeed in your craft.

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Proofreading for University Reports: Editor Cortni & Keiser University Vice Chancellor Discuss Academic Writing & Editing

Colored sticky notes, pens, and markers used to keep organization in academic writing

As a writing and editing professional, editor Cortni Merritt is sometimes asked to consult and collaborate on a variety of academic, technical, and business writing projects in addition to her projects with SRD Editing Services as a member of other groups not associated with SRD Editing Services. Recently she was honored by the request to participate in a crucial academic writing project at Keiser University in Florida. 

As an accredited institution, the University is required to assemble a comprehensive compliance report for the accreditation board every five years, and as a professional familiar with academic editing, Cortni was asked to assist with proofreading and finalizing the report before its submission to the board.

“The need for an editor isn’t about a lack of ability on the part of the writer; instead, it’s about a division of labor. When it absolutely has to be right, we will use a team approach.”

The Big Picture: Proofreading a Year-Long Collaboration

In the spring of 2022, Cortni introduced herself to the accreditation report writing team at Keiser University, composed of faculty, staff, deans, and experts in higher education writing and documentation. The timeline was laid out: Over the upcoming 12 months, teams of primary and secondary content developers would submit their materials to a compliance committee, and only after all materials’ content had been finalized would Cortni be asked to review and proofread for technical accuracy, using a KU-specific style sheet, based on combined elements from the Chicago Manual of Style and the APA Publication Manual. 

The final report to be submitted to the accreditation board in spring of 2023 was estimated to total around100 pages of narrative essays with 200 more pages of additional supporting documentation, which would not be subject to the proofreading process. However, Cortni was informed that there may be additional front matter, back matter, and appendices that might also need editing. 

Needless to say, it was quite the challenge! But if there’s one thing Cortni loves as an editor, it’s a new challenge. 

Associate Vice Chancellor of Academic Affairs, Dr. Michael Record, located at the University’s flagship campus in West Palm Beach, Florida, was lead project manager for the entire team of contributors, including Cortni from her office in Orlando, Florida. After the report was submitted and the project complete, Dr. Record generously shared his post-project insights about academic writing, professional editing and proofreading, and project management with Cortni in the following interview transcript.

Process, Standards, & Style: SRD Editor Interviews Dr. Michael Record

The following is compiled from multiple conversations in May 2023. Content is compressed and edited for clarity, organization, and story; some identifying information is redacted to protect confidentiality.  

Cortni Merritt: Well, Dr. Record! We finally reached the end of this large group project.  This involved so many highly educated specialists and subject matter experts. How many people were involved in the report writing (with all the writers, reviewers, committee members, advisors, etc.)?

Michael Record: Indeed! A big project. We had approximately 30 secondary developers writing on behalf of approximately 15 primary developers submitting their drafts to a compliance committee of approximately 20 people. Given a little bit of overlap in these appointments, I would say 60 folks contributed. 

For clarity, I’ll add that the chancellor and his management team [at the flagship Florida campus] served as primary developers of content…secondary developers did most of the writing on behalf of [their] vice chancellors. In most cases, [the report writing teams] would run their narrative by the primary developer for approval before submitting it to the compliance committee. 

CM: And after the compliance committee approval, it was sent to Cortni for final proofreading? 

MR: Well, that was the original idea. But, unofficially, we found a lack of quality in what was submitted…so the compliance committee chairperson and I—I have served on several on-site reaffirmation committees—with the assistance of the [lead] editor, who has served as a reviewer on accreditation teams, did a lot of rewriting…and then it would get sent to Cortni for proofreading, eventually.

CM: So the report went through a lead editor and a proofreader in addition to all the writing, rewriting, and review, is that right…?

MR: We had a [lead editor] who spent probably 40 hours. Would you estimate your contributions as proofreader at 25 hours?  

CM: Yes, about that. Maybe 30…how many hours do you think went into preparing this report in total? 

MR: That is difficult to estimate, but here’s my thinking: each team of 3-5 secondary developers would probably spend an average of three hours per person developing, reviewing, and gathering documents. A rough estimate for the secondary development [is] 330 hours.  

At the compliance committee, let’s say another 240 hours. And, I would ballpark the same for the time spent by the compliance committee chair, me (as project manager), and about 30 for the vice chancellor, bringing the total to somewhere in the neighborhood of 750 staff hours. 

CM: Wow. I think that goes to show that it takes a lot of preparation and preliminary work in a writing project—really, any academic writing project but especially one this size. So many people think that the first draft is the last draft, but there’s unseen steps for development, revision, and rewriting…all before editing even starts!…Since so many of the contributors were experienced writers, did it seem like “overkill” having both an editor and a proofreader? The copy must have been pretty clean to begin with.

MR: Well, people who don’t understand the publishing process don’t realize that the need for an editor isn’t about a lack of ability on the part of the writer; instead, it’s about a division of labor. When it absolutely has to be right, we will use a team approach.  

I can share my surprise at learning that the final report that gets handed in by the committee to the accrediting agency is almost completely narrative. For each standard, one does ultimately “check” whether the institution is in compliance, partial compliance, or noncompliance…however, that is followed by analytical narrative. 

In other words, a compliance report is ultimately a Word document. There is no way to summarize or digest an institution’s compliance with the standards of an accrediting body. Lengthy academic reports ultimately determine the continued good standing of an  institution in an accrediting body, meaning the quality of writing matters significantly. 

[And that’s why it’s important to understand] the capability of your team and your report writers. In some cases, the folks generating the copy were not academics, [but] it is not necessarily a good assumption that an academic [writer] will produce copy appropriate for [this type of specialized academic] report, even if that individual is an accomplished scholar with lots of publications on his or her vita. 

Quick example: it’s shocking how many ways of styling the name of a degree a group of university faculty and administrators can come up with: master degree…masters degree…master’s degree…Master’s of Science…Master of Science…Masters in Science…Masters Degree of Science…Masters of Science Degree…

It was impossible for the project manager—me!—to know how often a certain convention was going to be used, and whether it was going to be used often enough to require a rule governing it. Some of the best contributions you made as proofreader on the project were identifying issues that weren’t even addressed by the style sheet but needed to be. 

CM: Well, thank you. It was my pleasure. I’m glad I could help.

MR: You did! The main change in the process of editing is the ongoing development of the style sheet. Some organizations may have a style sheet that never changes or changes very seldom. A higher education institution that writes high-stakes accreditation reports every five years has a style sheet that is going to change a lot. 

With [more] issues identified, the next generation of developers is going to have even better guidance on what to do during drafting to lighten the load of the editor. Having a sufficient trove of issues identified along with advice about how to handle those issues makes generating the report a much easier task.  

You know, generally, division of labor based on experience makes everything easier. 

In this case, some people’s contribution [was] to conceive of the message, some people’s contribution [was] to write the copy, some people’s contribution [was] to gather evidentiary documentation, some people’s contribution [was] to evaluate and revise, and some persons’ jobs [were] to proofread and edit. When no one person is responsible for all of that, everyone can devote himself or herself to his or her own specific task, only do that, and do it really well. 

CM: That’s brilliant. Have experts focus on their areas of expertise.

MR: [That is why editing and proofreading were] important enough to be [their] own discrete stage of the report development process. Similar to when I wrote my doctoral dissertation and needed a professional editor even though the work I did for the institution at the time was similar to that of a professional editor, we needed an editor for this project who was not a developer—someone whose responsibility was not to write, or even necessarily to think about the institution’s compliance with the standards—because we wanted someone designated to handle the surface-level correctness of language.   

Had I to do it over again, I would start sooner and have a third phase (beyond primary and secondary [report writers]) whose job would be only to determine whether or not we were operating in compliance with the standard, but not necessarily to produce any copy. Then I would have a hand-off to the secondary developers who would take the information learned during that phase and write about it. 

CM: A great idea for next time, right? We’ve been talking about the “standards” and “compliance” with them, which brings me to a more technical question about the report writing—what were these “standards” that the University had to comply with? What was the real purpose of this compliance report? 

MR: Well, there were 22 academic standards–areas in which the University must demonstrate excellence in order to retain our accreditation. We have to prove—through explanatory narratives and evidenciary documents—that we have comparable facilities, classes, instructors, staff, policies, educational materials, etc., to similar institutions in Florida and throughout the southeastern US. 

So my primary purpose was getting an answer to the question “Do we comply with these 22 standards?” Our emphasis was [on providing] clear and complete answers. We hear a lot [at academic writers’ conferences, trainings, and seminars] about institutions that demonstrate compliance with part of the standard or what people’s impression of the standard is. 

Our approach in this report writing…was to break each standard into clauses, turn each clause into a subheading [in the report], and clearly demonstrate compliance with the clause of the standard within that subheading.

Beyond that, our focus was self-examination. Most institutions focus so much in their report writing on demonstrating compliance that they lose sight of the opportunity to learn about themselves. 

CM: What a fascinating, yet straightforward, process. Sounds like you basically reverse-engineered an outline for the report and created writing prompts for each section. 

MR: Exactly! 

CM: And so, what’s one piece of advice you’ll share? Something you think writing project managers ought to know?  

MR: The best advice I can share for working with a large team of content specialists is to acknowledge that just because someone is accomplished in a particular field of scholarship doesn’t mean that individual knows technical writing. 

In this context, all that means is answering the question that was asked, answering it completely, answering it clearly, and providing all the evidence the reader needs to believe the answer. 

The best specific tip I can offer is to take that team of academic writers through a series of examples and nonexamples of successful [report] writing. It can be enormously instructive to show teams of writers samples of well-written narratives that don’t answer the question, don’t provide evidence, or aren’t complete. This is an experiential approach to discriminating between good writing that demonstrates compliance and good writing that doesn’t demonstrate compliance. 

CM: As an editor, I can see how I would apply that advice to all types of large writing projects—book manuscripts, academic articles, business websites, etc. Thank you so much for sharing that wisdom!  

So, I have one final question for you, Dr. Record. I’ve seen a post online that suggests that it’s time for academia to replace “et al.” with “and besties” in citations. So instead of “Smith et al.,” citations would become “Smith and besties.” What are your thoughts on this?  

MR: That’s cute, and while it’s a joke, it’s actually a great teaching strategy. Instructors don’t acknowledge the subvocalization process often enough. When people read, their brains “pronounce” the words, and when our students don’t know how to pronounce something, they skip it—or they get frustrated and stop working. When I taught in Florida classrooms, I always taught students very intentionally how to read college-level material. I taught them to subvocalize “Smith (2022) observed…” as “Smith in 2022 observed…” As simple as that teaching behavior was, it was the difference between a group of emerging scholars warming up to academic discourse versus feeling alienated by it. I taught academic writers to read “Smith et al.” as “Smith and others,” but I will be using “Smith and besties” from now on. 

Cortni Merritt, SRD Editing Services & Academic Writing & Editing Projects

As an experienced proofreader, academic editor, and writing project manager in Florida, Cortni is always expanding her areas of expertise. This experience proofreading materials for Keiser University was one of many in the realms of business and technical writing and editing projects that was recently on Cortni’s calendar, but you can expect SRD Editing Services to be involved in similar University projects in 2023 and 2024. 

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How to Write a Back Cover Blurb & Online Book Description

Hand selecting book from a shelf; how to write a back cover blurb

Wondering how to write a back cover blurb for your book? Especially if you’re venturing into self-publishing, this can be a sticky and even controversial topic. You are not alone as a self-published writer wondering what makes the best back cover copy for your book. Self-published authors grapple with this every day, working to create an enticing summary that compels readers to open their book and dive in. Today let’s discuss some of the key elements that make your back cover blurb the best it can be, regardless what genre you’re publishing.

Back Cover is Both Sales Pitch and Art

Essentially, the back cover of your book is a teaser that provides readers with a summary of the main plot points that set the story in motion, while giving your reader a sense of the theme at the heart of the story, and without giving away too much that the reader feels disappointed if there is no more to the book than what is included on the back cover. No big deal, right?

Your back cover is also a sales tool, as it often pitches the story to a potential reader before they have any other exposure to it. It should intrigue potential readers, making them eager to discover what lies within. A well-crafted blurb may also feature a brief endorsement from a fellow author, ideally someone well-known in your genre who can vouch for your writing prowess and the merits of your work. But a lot of readers become disengaged if the back cover is nothing but endorsements and blurbs, so make sure that if you include an endorsement, it’s a real doozy.

How to Write a Back Cover Blurb: The Structure

Typically, there is a common approach in how to write a back cover blurb to address the main questions readers have without violating space constraints. Most professionals divide the back cover of a book into a structure of four paragraphs. The opening paragraph addresses the central questions of your story: What does your main character desire, and what obstacles stand in their way? If you can distill these key elements into just a few sentences, you’re on the right track.

In the second and third paragraphs of your back cover blurb, you should also touch on the main themes of your book and offer hints about your target audience. Tell your readers: Who will love this book? Some authors mention comparable titles, while others incorporate keywords, major themes, and symbols that readers can infer from language choices.

Throughout the back cover blurb, keep readers guessing by offering them something “the same but different” as you nod to the familiar while presenting something fresh and exciting. You want your book to feel both comforting, like a cozy visit to their favorite place, and adventurous, like an exploration of uncharted territory.

If Including an Author Bio

For your author bio, keep it concise. Limit it to two sentences, sharing your background, what you’re known for, and your current achievements. If this is your debut novel, mention that specifically. If readers want to learn more about you, they can easily find additional information via a quick online search or by visiting your website.

What About the Online Book Description?

Now, let’s talk about online book descriptions, which is a bit different from how to write a back cover blurb but a lot of the same principles apply. So the thing about physical book descriptions is that they take up real space on a real object, and they have to fit within standard limitations in order to be palatable to real readers. Unlike physical book covers with space limitations, online bookstores allow more flexibility with description length, but you must make sure to strike a balance.

So in your online book description, you can go a little wild. Within reason.

While you can provide more information online, avoid giving away the entire plot or revealing the ending before readers make their purchase. Don’t give away the whole book for free. You don’t want your online description to become too wordy. Keep it to the point and engaging, so readers will be enticed to hear everything you have to say.

Tips for Clickable Online Book Descriptions

Today’s tips for online book descriptions that maximize click-worthiness:

  1. Summarize what readers will gain from your book: Begin with a compelling “In this book, you’ll learn…” statement.
  2. If your book is part of a series, dedicate a few sentences to providing context and building anticipation for readers by discussing previous and upcoming plot points.
  3. Consider adding content warnings and comparisons like “Perfect for readers of…” to help readers identify if your book aligns with their interests or preferences. Highlight aspects such as female-led groups of characters, LGBTQ themes, or neurodivergent representation to attract your target audience effectively.

How to Write a Back Cover Blurb: Take the Time to Get it Right

By mastering the art of crafting back cover blurbs and online book descriptions, you can engage potential readers and entice them to embark on a literary journey within the pages of your book. Some writers love polishing their back cover copy and online book descriptions, but if you’re not sure how to write a back cover blurb, consider workshopping it with other writers or seeking professional advice. It’s such an essential part of your marketing package and sales tools that it’s worth the time it takes to get it to Goldilocks-perfection: Just right.

Ready to speak with an editor about your back cover blurb and online description?

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Writers Talking Writing: TV Writer Shonda Rhimes’s Tips to Lay Track

Cover of book by TV writer Shonda Rhimes titled "Year of Yes"

Lessons on Life from a TV Writer

Earlier this year, I listened to the audiobook for Shonda Rhimes’s Year of Yes, a successful and interesting TV writer with decades of experience (if you don’t know who she is.) In this mix of memoir and self-help advice, both funny and touching, Rhimes shares her wisdom about how to embrace personal growth and new opportunities.

You must open your mind to new opportunities and experiences in order to overcome stagnation and truly grow. Nothing new will happen to you if you don’t say “yes” to anything new. If you want to break free from the constraints of the familiar and mundane, Rhimes argues, you must be open to the unknown.

The book is particularly relatable for writers, mothers, and Black women—and even if you are not all of those things, you may be able to relate to her clear and insightful revelations about her experiences as an introvert. I could relate! I understood exactly what she was talking about when she said she was fine fading into the background, although she obviously had a larger-than-life personality.

Lay Track like a TV Writer

One striking metaphor Rhimes employs in the book compares writing for successful TV shows to laying down train tracks, and even non-TV writers can relate. Shonda describes how she knew the train was coming; the production schedule must run on time. She details her intense feelings of pressure to keep the schedule on track. She knows she can be flattened by that train.

To help her maintain focus and meet her writing goals (while avoiding being overwhelmed by industry demands), Rhimes lays out 6 tips on “how to lay track” as a TV writer. Even if you’re not a writer for a big, successful TV series (or three!), try these out to see if they can help you be more focused and productive in your own writing process.

  1. Establish a routine. A daily routine provides structure and can help you stay disciplined, focused, and productive. Designate times to complete your writing, whether you write for a specific period of time or until you reach a certain word count; it’s the consistency of sitting down to write at the same time that can help.
  2. Set clear deadlines. Clear, nonnegotiable deadlines create a sense of urgency and can help motivate you to meet your goals. In the case that you’re working on a collaborative project (like a TV show), deadlines for yourself will help you do your part to ensure everyone’s timelines stay on track.
  3. Say “no.” It can be difficult, of course, because we want to say “yes” to all the good, entertaining, pleasing things in our lives—like time with family and indulging in trips to restaurants and other places away from our desks—but if those opportunities are not aligned with your goals, they can derail your focus. To meet your deadlines, you will have to say “no” to some things and prioritize your work.
  4. Embrace productive procrastination. To be at your most creative, you need the space to brainstorm and think, so not all procrastination is bad procrastination. Sometimes, letting your mind wander allows you to come up with something great, new, and creative. So allow yourself to take a break if it helps you be your creative best.
  5. Accountability. Do you have a team that holds you accountable? Or even just one single “accountability-buddy”? Get one. Whether it’s your partner, your kids, your colleagues, or the rest of your writing team, use the power of positive peer pressure to help you make steady progress and deliver on your commitments.
  6. Create a dedicated workspace. This should be a sort of “sacred” writing space for you. A space where you can be your most productive, feel free to think, and that helps you envision yourself as a successful, competent, productive writer. Set up an area that helps you feel comfortable, but not too relaxed, and ready to work.

In addition to these tips on how to successfully lay track in your writing, Rhimes also discusses some of the less glamorous aspects of being a TV writer, such as the eye strain (and necessary eye care for writers) that comes from staring at a screen for long hours and the weight gain that can occur if you maintain a sedentary lifestyle and don’t balance laying track in your writing with actual movement of your body. And in all her discussions about these real-world writerly topics, Rhimes remains funny as hell.

More Life Lessons

If you’re not familiar with Rhimes’s work, do yourself a favor and try this book on for size. You’ll find some heartwarming lessons about navigating physical, mental, and emotional challenges, particularly those faced by a successful TV writer. No matter what other self-help books you’ve read, you’ll find in Year of Yes an inspirational message about embracing your own paths of growth and self-love.

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1 Year with EFA: Editor Training on Sensitivity

Two hands holding wooden letters spelling out "webinar"

July 1 is the first anniversary of SRD Editing Services’ membership in the Editorial Freelancers Association. In the past year, editor Cortni Merritt has taken some awesome editor training and webinar sessions provided by the EFA, and we wanted to tell you a bit more about what’s going on behind-the-scenes and in-front-of-the-screens at SRD Editing Services.

EFA Member & Public Webinars & Editor Training

The Editorial Freelancers Association offers a number of live trainings and recorded webinars. Most are accessible both to editors who are members as well as to the general public, however, a number of them are exclusive only to EFA members. While some webinars and trainings are free, others have an enrollment fee associated with them, although typically the fee is reduced for EFA members.

In addition to a series of webinars to help freelancers and business-owning editors enhance their business skills, several EFA courses focus on improving practical skills such as copy editing and proofreading, while others are meant to enhance the editor’s techniques within certain genres—mystery, memoir, children’s literature, etc. 

This year, editor Cortni Merritt completed and participated in a number of editor trainings that she felt could enhance practical technical skills across multiple genres, while also enriching the customer service experience she could provide to authors who choose SRD Editing Services for their editorial needs. 

The Art of Feedback

Although the MA program and editor training at Florida State University provided extensive practice on giving writers feedback, this hour-long webinar hosted by EFA Chief Executive Officer Christina Frey was a helpful refresher.

Napkin next to a red coffee mug showing feedback loop of "same old thinking" leads to "same old results" and vice versa

Feedback, especially from an editor, should be both collaborative and effective. The author must find it helpful, and above all, everyone must feel respected for feedback to be applied. 

When giving feedback, it is helpful for the editor to provide a neutral, “reader-first” perspective that is not based on opinion but instead on the authority of professional experience.

Authenticity Reading---What It Is & Why Editors Should Care

Authenticity reading, also known as sensitivity reading, is a type of pre-publication read-through for feedback in which the reader focuses on a specific area that readers might find unfairly portrays a group of people.

Most books have some content to which a particular sub-set of readers might be sensitive; different genres and books of different readership have different concerns, but when the writing might be considered “insensitive,” it should be evaluated for those concerns.

Trans Allyship for Writers & Editors

Writer and activist Davey Shlasko led this insightful editor training that examined how an editor can be aware and sensitive to trans identity and expression in the writing they edit. Above all, they say, “Be curious, be self-aware, and be willing to push past your comfort zone.” 

Flags depicting allyship with LGBTQIA+ community

In case of doubt about a person’s pronouns, ask! If you offer yours first (she/her), you may open the space for the other person to share theirs.

When assessing trans content, consider whether characters are being portrayed as real, whole people. Consider who the audience is and suggest further review from sensitivity readers as needed.

Lastly, Davey offered a variety of interesting resources for trans-ally copy editors, which I feel deserve (and will hopefully get!) their own blog: The Radical Copy Editor, The Conscious Style Guide, and The Trans Allyship Workbook.  

Demystifying the Language of Disability

Writer and activist Emily Ladau has been educating audiences about life with disability since age 10. In this editor training, she encouraged editors to consider person-first, identity-first language as a part of recognizing and removing subtle ableist bias.

Line drawings of the shapes of people, some who are disabled and wheelchair users or prosthetics users. Line drawings are in a rainbow of colors

People often have preferences regarding the language used to identify them, and if you’re interested in knowing a person’s preference, ask! Some people find “disabled” preferable, while others prefer a euphemism, but a well-meaning editor can devalue thoughtful choices of self-identity by making assumptions.

Generally, Emily advises editing with one eye on the lookout for the tropes of disability and to focus on increasing affirming language and reducing use of disability-insensitive metaphors. While representation is important, a review from a person similar to one being represented is ideal–“Nothing about us, without us.” 

More Editor Training Planned for 2023-2024

It’s only in 2023 that we’ve really ramped up our professional involvement and development, first by announcing the SRD Editing Services membership in the EFA in January 2023, and then announcing our membership in the International Association of Professional Writers & Editors in May 2023. But there’s more coming! 

Subscribe to our blog or follow SRD Editing Services on social media to stay up-to-date with all the exciting announcements. More editor training for our team happening at the Workshop at Authors Publish magazine, as well as from the University of North Georgia. 

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Tool for Children’s Book Writers (& Parents!): Accelerated Reader Bookfinder

Children reading a children's book. Boy and girl sitting next to a window.

For more than 20 years, the Accelerated Reader (AR) program has been helping kids read children’s books they enjoy, at their own pace. Readers of all levels can choose an AR book, read their way through it, then take a computerized quiz to assess their understanding and sometimes earn class credit. 

Educators across the US use it, and hundreds of thousands of kids across the country read millions of pages every year because of it. If you’re a parent of a child of any age, you’ve probably already heard of AR. 

But if you’re a parent who is looking to contribute more to your child’s reading goals and even help them find new books to read, or if you’re a writer of children’s books looking to keep up with trends, find stories comparable with your own work, or identify the reading level of your work, the Accelerated Reader Bookfinder website can be a great resource. 

This blog aims to provide both parents and kids lit authors an introduction and overview of how to use the AR Bookfinder site. Let’s take a look! 

Accelerated Reader Bookfinder logo for childrens book database
The Accelerated Reader Bookfinder website is a comprehensive database of information about children's books.

Using AR Bookfinder Website

Whether you’re a parent or you write children’s books of any level — from elementary to mid-grade, juvenile, or YA books — use the AR Bookfinder website for basic research. 

Now, when I was a kid participating in Accelerated Reader, there was no website–there was no internet. If I wanted to know what reading level a book was or how many points it was worth, I had to actually go to the library and examine the sticker on the spine of the book or ask the librarian. How times have changed!

Accelerated Reader Bookfinder welcome page for children's books
On the Welcome page, select the “Parent” option to explore AR Bookfinder without creating an account.

When you first land on the AR Bookfinder welcome page, you need to identify yourself as a student, parent, teacher, or librarian. Whether you’re a parent or a writer of children’s books, you can use the “parent” option to browse the website without creating an account.

For Parents: Confirm AR Children's Books, Reading Levels, & Points

Once you have identified yourself as a parent, use the “Quick Search” option to enter a title that your kid is interested in, to confirm whether it is an AR book, what reading level it is, and how many points it’s worth. You can also search an author name to see which of their works are AR eligible.

I’m lucky, personally. My kid is an excellent reader(!), but I have to constantly remind him to collect his AR points and meet his goal to earn the grade for his language arts class. Luckily, most of the books he’s interested in are in the AR Bookfinder database. 

We are sometimes at our favorite local thrift bookstore or the public library, or a friend will offer to let my son borrow a book, and with a quick search, we can find out whether a title he’s interested in is an AR book.

(In fact, one of our favorite books of 2022 — See You in the Cosmos — was one we borrowed from the public library then found out on AR Bookfinder that it was worth 10 points!)

For titles that may have multiple versions in print, it may be important to look more closely at the details of each book on your search results list. Some versions may be abridged, a graphic novel or illustrated version, or an annotated or enhanced version of the book–all of which might affect the reading level and point value. 

AR Bookfinder children's book results list of different versions of Alice in Wonderland
A popular title like “Alice in Wonderland” may have several versions available for your child to enjoy and earn AR points.

Advanced Search Options

If you’re not sure of the title or author name, or if you want to check more details about a book series, use the “Advanced Search” tab for more search options.

AR Bookfinder childrens books advanced search options and menu
Use the AR Bookfinder Advanced Search options to filter specific results.

By using the Advanced Search tab, you can peruse a specific children’s book series to see which titles earn AR points, or you can choose the “Interest Level” (i.e., reading level) to browse titles that might appeal to your child. 

Select from Lower Grade (K-3), Middle Grade (4-8), Middle Grade (6+), and Upper Grades (9-12) to filter a list that meets your child’s unique reading needs.

Use the Additional Criteria options to select a topic that your child is interested in (not just genres, but think of this more similar to tags, like “adventure” or “history”), as well as filter to look at only fiction or nonfiction children’s book titles.

If you have no ideas or starting points for your search, and your kid needs suggestions of children’s books, keep reading! The section below details how to use the “Collections” tab on the AR Bookfinder website to search for new titles, authors, or series your little one may love.

AR Bookfinder Tips For Children's Book Writers

As a new or still-learning children’s book writer, it can be tricky to know exactly what reading level or grade level you’re writing for. These “levels” may differ based on subjective criteria such as word choice, sentence structure, and topic.

Maybe you have an idea for a kid’s book, and you’re not sure who your audience is or exactly what age they are.

Or maybe you’re prepping your query letter and submission info for agents and you need to gather titles of children’s books that are comparable to yours. Either way, using the “Collections” tab in AR Bookfinder can help.

Explore "Collections" for Comps & Reading Level

Writers (and parents!) can use the “Collections” tab to explore two things: recent award-winning children’s books and trending and popular kids books.

AR Bookfinder website showing childrens book writers how to explore the Collections tab.
Use the “Collections” tab to explore award-winning children’s books.

Now, it’s possible that these lists will overlap, but just because something is award winning doesn’t mean it’ll be popular! And just because a title is popular with kids in a certain age group doesn’t mean it was critically acclaimed.

Checking out both options in the Collections tab can give you a full picture of what’s going on in children’s book publishing and how to position your title. 

When you select the Collections, tab you will see these two main options to peruse through the database.

By selecting the “plus sign” next to one of the options, you expand the menu for more specific information.

Under “Awards,” for example, you can find links to specific children’s book award lists, such as the Newberry Medal and the Coretta Scott King Award. 

AR Bookfinder collections show award-winning children's books
Use “Collections” to browse award-winning children’s books.

On the other hand, selecting the plus sign next to “What Kids Are Reading” opens a sub-menu with the three most recent calendar years. Select a year to open the next sub-menu, which says “Top 20 Fiction/Nonfiction Books of [YEAR]”.

When you select this menu, the next sub-menu opens, separating out each grade with a link. You can then explore the top 20 books for kindergarteners, first graders, etc., all the way through high school seniors.

AR Bookfinder children's books top 20 of 2020
Use “Collections” to explore top 20 titles for each grade level in most recent 3 calendar years.

For example, the Top 20 for 11th grade in 2020 includes classic titles such as The Catcher in the Rye and Huckleberry Finn, along with contemporary titles such as Divergent and The Hate U Give. 

Obviously, many eleventh graders are reading and taking AR quizzes on titles required for a class curriculum, but it’s also obvious that many eleventh graders are continuing to read children’s and YA books in which they’re interested and which are also AR books they can earn points on. 

Track Titles & Reading Goals with Goodreads!

Although the AR Bookfinder website does have a “favorites” feature, which they call the AR Bookbag, that allows you to save a list of titles; however, when using a Parent account, the Bookbag empties/clears its history when you close your web browser. That can be inconvenient for long-term tracking and ideas! 

Instead, our editor Cortni suggests creating a Goodreads account if you don’t already have one (and connect with Cortni on Goodreads!) Using Goodreads’ “shelf” feature, you can easily track all the books you’ve read, the ones you’re currently reading, and ones you want to read. 

Since a Goodreads account will last far beyond your child’s school years, it can be an excellent long-term tool to keep your kid reading far into adulthood. 

And for authors of children’s books, a Goodreads membership and active account can help you connect with your readers and keep them informed of your work and upcoming releases.

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Children's Books Edited by SRD Editing Services

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Creative Writing Tips: How to Watch Movies to Improve Your Storytelling

Early 20th century film projector with light on blue and black background. Creative writing tips for watching movies.

Sometimes, you just want to watch a movie for the fun of it. Sometimes, you want to watch a movie and learn from it. Specifically, if you want to spend some time enhancing your own creative writing skills by watching movies, I think there are a few ways that can be done.

Now of course, movies aren’t the same as books, but neither are TV shows, podcasts, or games. But they all have similarities, and although they employ different types of storytelling techniques, you will widen your own storytelling techniques by familiarizing (or at least, exposing) yourself to storytelling in different media. If you write creative fiction or nonfiction, here’s how you can watch movies in the same genre and critically analyze it to improve your writing.

(BTW: I also already wrote a blog on how to read fiction to improve your own writing.)

Take Notes!

I know, I’m spoiling the fun even more. But my suggestion is to take notes when you’re watching a movie that you want to learn from. It will help you write your best creative writing.

In your notes, it can be helpful to write down the timestamp of the moment in the movie you want to reference. For example, if there’s an example of really great dialogue, pause the movie and find out at what minute and second (for example, 12 minutes and 22 seconds into the movie would be 12:22, or 1 hour, 12 minutes and 22 seconds into the movie is 1:12:22) the scene takes place so you can easily go back to it. 

If you’re watching the film on DVD, you might be able to return to the “chapter” or “scene” using the menu options, so if you have that option and find that easier, use that method instead. 

Watch It Alone

This notetaking process of occasionally pausing the movie to take notes when your creativity or interest is sparked (or sometimes, even, to briefly interrupt watching for a creative writing spurt) will probably annoy other people if you’re attempting to watch the movie with a companion (or several). Opt for times when you can watch the movie alone and without judgment. 

Unless you find someone really supercool and awesome who is unbothered by this way of watching a movie. In that case, pop your popcorn for two. 

Creative Writing Tip 1: The Beginning and End

Of course you may have heard this advice in creative writing classes over the years, but it’s worth saying again.

The first line means something and the last line means something.

So when it comes to movies, there are two aspects of each end of the movie to consider: the visuals and the first line of narration or dialogue.

When it comes to a book, you can start anywhere—inside a character’s head, describing the setting, or giving expository information are only three of many potential methods.

However, movies must do two things at once: they must start with visuals that immediately begin the process of world-building, and they, at some point, include voiceover narration or character dialogue that begins to lay out information relevant to the plot.

Now those are two of the practical functions served by the earliest moments in the movie, but there are several other important establishing elements: time period, mood, intensity, pacing, etc.

Then, at the end of the movie, the concluding scene must do all of the same but in reverse: wrapping up the interactions and plot, character insight, history of the events in the story, mood resolutions, etc.

As you’re watching a beloved (or brand-new-to-you!) movie in the near future consider the following:

  • Who are the first characters seen on-screen? The last characters? Were they significant to the story and why?
  • What emotions did you experience in the opening scene? What about the end?
  • What color schemes were used and how did they set (or resolve) a mood? What built on that mood?
  • How would you have handled it differently if you’d been the lead creative writer?

Then as the movie reaches its conclusion, take note of the last line of the movie. As much as book writers love to obsess over the first and last lines in a movie, good film writers do too.

Even if the line is bad (cheesy etc.) consider if the writer was true to the character and did them justice in the end.

Creative Writing Tip 2: Expressions and Body Language

Acting is very physical. The best actors can (arguably) portray a range of emotions and embody realistic physical movements of a range of characters.

It can be easy to tell rather than show in your writing, but silent acting is pure showing. Watching movies can help you recognize moments where the actors are giving a genuine physical performance, showing their emotions in their facial expressions or their experiences through the movements of their body.

When you come across a scene with particularly great physicality, give yourself the writing exercise to pause the film and see how much you can describe based on purely what you see, without context.

For example, in the movie Red Dragon, I think there is particularly excellent physical acting from Ralph Fiennes. Of course, he’s excellent throughout the movie, but particularly, in the climactic scene where he (as the antgaonist) is facing off against the protagonist, played by Edward Norton. 

The scene begins with Fiennes’s character threatening the life of the teenage son of Norton’s character. At a distinct moment in the scene, without saying a word, Fiennes goes from being threatening toward the boy to being protective of him. And you can see it—in the way Fiennes tightens his arm around the boy, cradling the teenager to his chest; in the way his nostrils flare and eyes widen; in the way he starts to move his body in front of the boy’s, to shield him from harm—when he had been threatening to kill him not a moment before.

It’s a dramatic turn and incredibly well-executed by an actor who shows you what his character is feeling without having him speak a word.  

(Okay, in general, Ralph Fiennes is a fantastic physical actor. I know, I know, he’s Voldemort and all but…well, nobody’s perfect.)

Creative Writing Tip 3: Accents, Sounds, & Speech Patterns

Some stories, especially those set in a particular place and time, have a distinct soundscape. While this most obviously is important for your characters in terms of accents and voices it’s also important in terms of the sounds of the world you’re building.

When you’re setting a scene, it can be easy as a creative writer to focus on the characters themselves, or give a brief description of what a room or setting looks like. But, there is much more to a reader’s true depiction of a place, and one of the key elements is sound. 

Pay attention to how movies utilize sound to build tension, bring a setting to life, and affect mood. If there are animals in the scene, can you also hear them? If there are children, what sounds to they make and how do they contribute to the film? 

How are sound effects used? How can you pace your own writing like music? How can you interject comedy or dramatic delivery through use of sound in your settings? 

Here, I can give you one example of what not to do: in the TV show Gotham, which largely takes place in a police station, there was too much silence. I would notice how, in multiple episodes, entire scenes would take place at the police station, which would have no ringing phones in the background, no slamming doors, no shouting, no squeaking chairs. It would simply be a close-up of the characters, against a dramatically lit and silent background. Like a comic panel, not a TV show, and it ultimately became distracting for me as a viewer, who was used to seeing other cop TV shows where the stations were full of a lot of noise. 

If I’d been a writer on that show, I might have made that suggestion at some point. Perhaps one did, and their idea was rejected. Who knows? But I know that as a viewer, it was too quiet; and if I read a book with the same kind of “silence scenery,” I find it too quiet. 

Be Kind. Rewind.

Watching movies can be a lot of fun and inspiring to writers looking to enhance their creative writing. Some of the movies you find are excellent examples of your genre, you may need to re-watch multiple times and extract the elements you find most useful to you and your process.

But whatever you do, don’t get caught up in being a movie-viewer rather than a writer. Keep writing. 

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