Exploring different viewpoints through characters is one of the most powerful tools a writer has. When done well, it adds depth, complexity, and emotional resonance. When done poorly, it breaks apart the story, confuses readers, and saps narrative momentum. From an editor’s outlook, viewpoint issues are rarely about the number of perspectives a story includes. They’re about why those perspectives are there—and whether the story truly needs them.

Writer burnout is often talked about in terms of productivity: missed deadlines, stalled drafts, unfinished projects. But one of its most harmful effects is rarely named explicitly—burnout quietly changes narrative voice. Writers often notice that something feels off in their work but can’t quite explain why. The writing still works. The story still moves forward. However, the story feels more dull, less polished, or strangely distant.

Few things slow down a draft faster than a placeholder name that never gets replaced. You know the ones—Guy, Girl, MC, or even worse, Bob2. Character names seem simple, but choosing the right one can secretly influence how readers see a character before they even speak. If you’ve ever looked at a blank page wondering what to name your protagonist, you’re not alone.

Writer’s block has a reputation for being mysterious, dramatic, and unavoidable. For many writers, it feels like hitting an invisible wall—one that shows up without warning and refuses to move no matter how long you stare at the page. But from an editorial perspective, writer’s block is seldom about a lack of talent or discipline. More often, it’s a symptom…

One of the most common questions writers ask—often with equal parts curiosity and dread—is: "How much research do I actually need to do for my book?” The short answer? Enough to support the story you’re telling.The longer—and more important—answer is that research only helps if you can keep it organized and usable. Whether you’re writing fantasy, science fiction, historical fiction, or contemporary work, research can quickly turn into scattered notes, countless browser tabs, and half-remembered facts that never quite make it into the story.

Emotional payoff is one of the most challenging aspects of storytelling—and one of the easiest for readers to recognize when it doesn't work. A scene can be dramatic. It can be intense. It can even be beautifully written. And yet, it can still fall flat. Why?Because emotional payoff doesn’t come from what happens. It comes from what has been…

If you’ve ever opened an edited manuscript and felt your stomach drop at the number of comments in the margins, you’re not alone. For many writers, editorial questions seem overwhelming—or worse, like evidence that the manuscript is basically flawed. In fact, the opposite is usually true. Editors ask questions because they pay attention. Editorial questions are among the most useful tools in the editing process.

If you’ve finished a draft—or even a partial one—and are thinking about professional feedback, you’ve probably heard of manuscript critique. For many writers, especially those early in revision, a critique can be a very helpful tool. For others, it can be frustrating if expectations don’t align with what the service actually delivers. Understanding what a manuscript critique can…

One of the biggest fears writers face when submitting their work to an editor isn’t cost, timing, or even revisions—it’s emotional fallout. Will the feedback feel harsh? Will it tear the story apart? Will it make them want to give up on the project altogether? Good editors recognize this fear. But they also understand something equally important: kindness without honesty doesn’t help a manuscript improve…

If you’re a new writer, you probably hear some version of this advice: “Just write.” While enthusiasm and momentum are important, disorganization is one of the main reasons new novels stall, spiral, or collapse halfway through. A new approach to organization isn’t about strict rules or stifling creativity; it’s about building a structure that encourages your imagination instead of blocking it…

Few phrases strike fear into a writer’s heart more quickly than an editor saying, “This isn’t ready yet.” It can feel vague, dismissive, or even personal—especially after you’ve revised endlessly, cleaned up the prose, and fixed every typo you could find. But when editors use this phrase, they’re not referring to commas or sentence polish. They’re addressing something much deeper.

When writers ask what makes one editor different from another, the answer often comes down to how an editor reads. My English degree didn’t just teach me how to correct grammar; it trained me to analyze structure, intention, voice, and meaning on a deep level. That foundation influences every edit I do, from developmental feedback to line-level refinement. Reading Like a Writer—and a Scholar…

Submitting a manuscript can feel like standing on the edge of a cliff—exciting, terrifying, and full of “what ifs.” Writers often see editors as gatekeepers armed with red pens and impossible standards. In reality, most editors want the same thing you do: a compelling story with clear potential. But there are a few things editors wish writers understood before hitting submit.

How to Keep Readers Hooked When Nothing Is Exploding Many writers think tension requires constant action—sword fights, chases, explosions, or magical battles every few pages. But some of the most compelling scenes in fantasy and science fiction have very little physical movement at all. Tension is not action.Tension is anticipation. When writers depend too much on action to drive a story, …

Fantasy is one of the most popular—and most challenging—genres in fiction. Readers expect wonder, immersion, and emotional rewards. However, fantasy also has one of the highest DNF (Did Not Finish) rates across genres. Why do readers give up on fantasy books halfway through—or even within the first few chapters? And more importantly, how can writers steer clear of the most common pitfalls?

Receiving editorial notes can feel overwhelming—even for experienced writers. You open the document expecting a few tweaks, only to find pages of comments, tracked changes, and questions that seem to challenge everything you thought was working. If your first reaction is panic, frustration, or the urge to close the file and walk away, you’re not alone. As a developmental editor…

Slow pacing is often misunderstood in storytelling. Writers are encouraged to “let the story breathe,” focusing on nuance, atmosphere, and emotional depth. However, when readers lose interest, the feedback quickly shifts from slow burn to feeling like nothing is happening. So what’s the actual difference between a slow burn and a stalled story? As a developmental editor—especially in fantasy and speculative fiction—I often see this distinction trip up writers.

If your story feels flat, predictable, or emotionally distant, the problem might not be your prose, pacing, or even your protagonist. It could be your antagonist. As a developmental editor, I frequently encounter this problem—especially in fantasy and science fiction. Writers spend months refining worldbuilding, polishing dialogue, and developing character arcs, yet something still isn’t working. The tension never quite hits the mark.

Most writers don’t need someone to tell them where to place a comma. They need help understanding why a scene isn’t working, where the story loses momentum, or how a character arc quietly derails halfway through the book. That’s why I focus on developmental editing—and why it’s the most impactful stage a manuscript can go through. Developmental Editing Is Where Stories Are Made (or Broken)

For many writers, a developmental edit can feel mysterious—sometimes even intimidating. You hand over a manuscript you’ve invested months (or years) into, and weeks later, you get pages of feedback that seem to completely reshape the story. So, what exactly happens during a developmental edit? Let’s pull back the curtain. It Starts With the Big Picture A developmental edit doesn't start at the sentence level.

For many fantasy writers, editing feels like the final—and often most confusing—step before publication. You know you need an editor, but when you see price ranges that vary greatly, it can feel overwhelming or even discouraging. Unfortunately, much of the frustration around editing costs stems from common misconceptions about what editing really involves and why it is priced the way it is.

Hiring an editor is one of the most important investments a fantasy author can make—but when and how you hire one is just as crucial as who you choose. Submitting an unpolished manuscript to an editor not only costs more but also limits the value you can gain from the edit itself. Before bringing in professional eyes, there are several key steps you should take to ensure your manuscript—and your world—are prepared for meaningful feedback.

Fantasy doesn’t require constant misery, graphic violence, or nihilism to seem mature. While grimdark has established a strong niche, many readers seek stories that feel adult in a more meaningful and resonant way—through emotional depth, moral complexity, and immersive worlds rather than shock tactics. So, what truly makes fantasy feel mature without becoming bleak? Emotional Complexity Over Excessive Darkness Adult fantasy often focuses on…

Fantasy writers love crafting their magic systems. Hard rules, soft rules, costs, limits, elemental charts, glyphs, bloodlines—you’ve created something complex and brilliant. It can be frustrating when readers don’t notice or care right away. Here’s the truth most writers learn the hard way: readers don’t care about your magic system at first—and that’s normal. Readers Enter Stories Through Emotion, Not Rules…

In fantasy writing, setting is never just a background. It’s an active element—one that influences character choices, controls pacing, and enhances emotional resonance. The most memorable fantasy scenes succeed because the setting works alongside plot and character to carry narrative weight. When used effectively, setting turns a simple moment into a compelling, immersive experience. Setting as Emotional Architecture Strong fantasy settings are created to evoke emotions.