At this point, you have written and rewritten your novel at least three times. You should be able to read your novel should readable and without any obvious glitches, but it would still behoove you to read your manuscript at this time to see how well the entire story reads.
You should find that you have scenes showing realistic locations with well-developed characters who show great action have relevant dialogue. However, a read through at this point will allow you to find some areas within the story line that doesn’t exactly fit.
These sorts of errors might not be found when you’re working scene by scene, but I wanted to mention that various problems can be found simply by reading the book through. These errors are not technical in nature, but rather come from other content problems that you may have, so far, missed in the editing process. Click Here to Read More

What is Line Editing?
Line editing is a stage in the editing process in which a manuscript is edited for tone, style, and consistency. This stage of editing is extremely important for documents of all types and lengths, and a good line editing is a crucial in the manuscript editing process. Here are a few dos and don’ts to line editing. Click Here To Read Line Editing Dos and Don'ts

When Michelangelo was asked how he was able to create such a beautiful statue when he created his Statue of David, he told him that David was already there in the rock. All he did was cut away what wasn’t part of the statue. If you have worked hard to get your second draft to the best place that you could, your book is now the point where it too is like the statue. Everything is there. All you have to do is cut away what isn’t part of your story.
In your second draft, your novel should have expanded it beyond the anticipated word count. In your third draft, it is time to start cutting out what doesn’t belong in your book and tightening your prose.
Before beginning the third draft, read through your manuscript, focusing in on what needs to be eliminated.
Cut the Chitchat
I believe that the easiest place to start editing what doesn’t belong is in your manuscript’s dialogue. It is also one of the elements that demand ruthless scrutiny. I know we have gone through this before when we were working on the second draft, but Click here to read more

When Michelangelo was asked how he was able to create such a beautiful statue when he created his Statue of David, he told him that David was already there in the rock. All he did was cut away what wasn’t part of the statue. If you have worked hard to get your second draft to the best place that you could, your book is now the point where it too is like the statue. Everything is there. All you have to do is cut away what isn’t part of your story.
In your second draft, your novel should have expanded it beyond the anticipated word count. In your third draft, it is time to start cutting out what doesn’t belong in your book and tightening your prose.
Before beginning the third draft, read through your manuscript, focusing in on what needs to be eliminated. Click here to read more

In fiction, pacing refers to how quickly or how slowly the action of the story unfolds. Pacing is important because it helps to keep the reader interested and maintains a desired atmosphere and tone of your story. A suspense thriller shouldn’t move at a crawl, just as a romance move too quickly. In an earlier post, I discussed some of the aspects of pacing as it relates to dialogue, this time we are discussing other techniques used to speed up or slow down pace.
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As you write your novel, you will need to plan the rise and fall of your novel’s plot and action. Taking time to outline your novel can help with pacing because you can see at a glance where there is concentrated actions or events and where movement should be slower. Sometimes your action might be too slow, and you need to speed it up at other times, you might need to spread out the face-paced moments of peril and adventure and include a few pages where the reader and characters can catch their breath. Click Here to Read More

Deep Point of View  (Deep POV) is a narrative technique that eliminates the distance between the reader and the point-of-view character by utilizing a close subjective framework. In other words, one character's thoughts and experiences shape the narrative at a time. No head-hopping, no narrator, and as few marks of authorship as possible.
Deep POV encourages readers to experience the story through one character's perspective at a time, making the events of the story more personal and gripping. This technique is a popular one in modern genre fiction, as it mimics the experience viewers have when watching a movie

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During the past several weeks in my blogs about editing novels, I have been about dialogue and this week I am continuing on this theme. This week we’re going over an important aspect of dialogue that actually relates to every aspect of the novel and that is, it must move the story forward. I know I have mentioned this before, but this is so important, I have designated an entire post to this subject.
Why Are We Having This Conversation?
When writing a conversation between characters, it is important that these conversations draw your readers along through the story and move the story forward. Every conversation in your novel must have a point that draws the story forward or that conversation should be eliminated from the story. When editing your dialogue, be conscious of what you want to achieve. What information o you want to pass to the reader. Do you want to get the reader get to know one or more of your character better? Knowing dialogue’s purpose beforehand allows you to direct your conversation.                                                                                                                               CLICK HERE TO READ MORE

As writers, we should be ever evolving in our craft. This is why it is helpful to hear what others have to say about the editing process because it helps us develop better writing skills. Sometimes we hear advice that seems logical, but then we realize that maybe we need to take that advice with a grain of salt.

Should Our Characters Always Stay on Topic?

We have been told that “dialogue should stay on topic”. However, in real life we talk in spurts and in incoherent mumbles, grunts, and murmurs while we try to form our thoughts. We stumble on our words and correct ourselves. We pause and reflect. We backtrack. We circle around in tangents. If our character is to seem realistic, our character’s dialogue needs to do the same.
These reveal character traits and priorities. If dialogue is too focused and direct, it’ll sound predictable and flat. Readers want to see the motivations, the quirks, the uniqueness our characters. These add texture when our characters speak. CLICK HERE TO READ MORE

Dialogue is not only a useful tool, it’s an important component of effective storytelling. The time that you invest in editing and polishing it will pay generous dividends.
Dialogue is the writer’s equivalent of a poly-cord bracelet. No other storytelling tool lets you reveal character, advance the plot, establish the setting, and deliver a theme, all at the same time. Well-written dialogue is a fast and easy read. Make sure you fix these problems in your dialogue.
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Two Basic Scene Types

One of the most overlooked pieces of the story puzzle is the scene. It is the most integral, and obvious part of any story, but it is also overlooked and the least understood part of storytelling. First, type of scene is the scene proper. The second type is called the sequel.

Scene Building Blocks
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Each scene follows a specific structure. At its heart, the arc of the scene is the same as that of the larger story structure exhibited over the course of the book: 1. Beginning which is the Hook. 2. The middle which is where the scene develops and finally there is the end or the climax of the scene.
                                                                                                                              CLICK HERE to READ MORE