Tip: Read Your Novel Out Loud

This post may contain affiliate links to products I use and love. If you buy something through one of those links, there is no additional cost to you, but I may receive a small commission, which helps pay for my continued work. Read my affiliate disclosures here.

Writing can be such a quiet activity. Other than the click of the keys or the scratch of the pen on paper, we’re often silent, allowing our thoughts to flow out onto the page. But I have a pro-tip for you today, one that I use quite often myself: read your novel out loud.

Reading out loud forces you to slow down.

If you’ve been reading your writing silently for months, if not years, then it might be time to view it differently. If we’re reading in our heads, it’s too easy to skip, skim, or change wording without realizing it. Our brains automatically fill things in, and so you might not catch the missing “the” after thirty read-throughs. If, on the thirty-first read-through, you read it aloud, you’re far more likely to slow down and read every single word. The act of slowing down means we see things so differently from all those fast-paced read-throughs that you’ve done before.

Reading out loud helps you find unnatural dialogue.

It might seem obvious, but the most natural way to double-check your dialogue is to speak it out loud. Our ears better assess whether dialogue sounds natural, like an actual person is saying it, than our brains do. If it feels awkward reading it aloud, chances are that your character wouldn’t have said that way—unless awkward is what you’re going for.

Reading out loud clearly shows you awkward wording.

In a similar vein, reading your work aloud is very helpful when it comes to finding awkward or stilted writing. If you find yourself stumbling over your words or having to go back and reread a sentence, you might need to make some adjustments. If you find that you struggle to follow along with a particular sentence, perhaps you need to break it down into smaller sentences, ones that are easier for your reader to digest.

Reading out loud puts you in the reader’s seat.

While you’re writing and editing, you’re likely hanging out in the writer’s seat, not the reader’s seat. While this is absolutely crucial at the beginning of your project, by the time you’re on your second or third draft, you should be considering the reader’s perspective, perhaps more than the author’s perspective. So in order to switch gears and put on your reader’s hat, try reading aloud. Put yourself in your reader’s seat and examine your story just as they would.

Reading out loud keepS your attention, even when your focus is elsewhere.

This is a huge reason I started reading aloud in the first place. As someone who reads for a living (my dream job), I can tell you that I’m just not into it every single day. Perhaps the story just isn’t grabbing me, or I didn’t get enough sleep the night before, or the dogs are driving me nuts, but some days, I just can’t focus. And when I still have to get my work done, reading aloud really helps me stay focused on the story in front of me. And for writers, this can be just the same. If you know you want to write or edit but it’s feeling too difficult to keep your mind on the story, try reading it aloud instead. You just might find it easier to get your work done.

BONUS! Reading out loud helps you see where commas should be added—or removed.

I won’t lie: this is my favorite reason to read your work aloud. I love a good comma. Commas are a bit controversial in the writing and editing worlds, as the rules are a bit hazy. There are plenty of situations when you absolutely have to have a comma, but plenty where it could go either way. And don’t even get me started on different rules for different types of books, different style guides, and different mediums of writing altogether. My philosophy with commas—in fiction, at least—is based on how it sounds to the reader, and reading the work aloud is super helpful in determining what the reader would hear. Commas belong in the same space that a reader would breathe because it helps them naturally find those pauses. Commas offer a gentle whitespace of sorts to control the cadence and rhythm of your story. So if you’re not sure whether to add a comma or not, read it aloud and see where you naturally pause. Put one there.

Why it's Important to Keep Reading While Writing

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I’ve heard some writers say recently that they prefer not to read while they’re actively working on a writing project, just so they’re never tempted to accidentally borrow anything another book. While I do understand this idea, I also think it’s unnecessary, and perhaps even detrimental. Stories are all around us, and I doubt the authors who refuse to read are blocking out tales from their friends and family, television and movies, or social media. We’re consuming so much all the time, and it’s beyond important these days to be intentional with our consumption. So how do you know what to read while writing? Here are some considerations:

Read to stay engaged in the community.

Readers love to talk about books and stories, that’s for sure! There is incredible value in being able to participate in this conversation, not just as an author, but as a reader too. Consider BookTok, Goodreads, Bookstagram, and more. Readers love to know what others have been reading, and there’s something incredible about authors lifting up other authors. I love to see my favorites talk about their favorites. This can serve as engaging with your own readers, and it can also serve as engaging with friends. There’s a lot of overlap here, and it’s so worth it.

Read to figure out what you like and dislike in a novel.

If you’re reading critically, looking at the structure of the sentences, at the multi-faceted characters, at the beats of the plot, there is always something to learn. Every single book I pick up teaches me something. Perhaps I realize that I really love a certain element—great banter, lots of dialogue, realistic characters, a sassy heroine—but I might also note that there are a few elements that just aren’t for me—the insta-love trope, long paragraphs of exposition, characters that are immature. None of these things are necessarily good or bad for each reader, but knowing what I like will certainly inform what I write. I probably won’t write any books with the insta-love trope any time soon, and I’ll likely be crafting characters who are sassy, realistic, and like to banter. Knowing what I love doesn’t mean I’ll include it every single time, but it’s definitely helpful in identifying elements that I can add to a novel in the future.

Read to keep up to date in the industry.

This one might seem a bit boring, but to me, it’s one of my favorite things about working in the publishing industry: an excuse to read all the new books! It’s smart to keep an eye on what books are coming out, what authors are successful or newly published, what topics or tropes are trending, what genres are super hot, and more. There’s power that comes with this knowledge, in that you can shape your own writing career differently if you want. Perhaps the topic surrounding an idea that you’ve had incubating for a while is trending, so now might be a great time to get it written and published as soon as you can. Perhaps a book you wrote years ago with little success would be perfect for the new hot topic, so maybe you’ll want to rerelease it. Keep an eye out for changes and shifts in the industry, because you can definitely use them to your advantage.

Read to try new things.

We’ve probably all picked up a new, unexpected book before, only to find that we love this new author, or we’re shocked that we’ve never tried this genre before. There’s very little risk in reading new and different books, so it’s a great opportunity to share what you haven’t tried before. Try a new genre, or a book written in a time period you don’t generally gravitate toward. How about a new author, a debut author, or one you’ve been meaning to try forever? Look for a different series, a different topic, or characters who haven’t lived a similar life as you. Who knows? Maybe you’ll find something different to write for yourself next time.

Read to distract you from your own world for a little while.

One thing that I see happening with nearly every author I work with is the burnout that comes with focusing on one project for months or years. It’s easy to get into your own world a little too much. There are some pitfalls that come with that, including not being able to see the forest from the trees, so when you have the opportunity to break away from the world you’ve created and jump into someone else’s world, perhaps you should take it. It’s good to let your brain rest for a while, allowing it to recharge and get reinvigorated for your next writing sesh. You might find that your writing is much better after reading other books, or that your creativity is refreshed in a surprising way.

Read to stay in love with reading.

Perhaps the most obvious of the reasons to keep reading while you’re writing is this: because you love it. You probably wouldn’t be a writer if you didn’t love reading. I’m sure there’s an author or two out there who don’t identify as book lovers, but the vast majority of us do. So just keep reading because you love it. Read whatever you want whenever you want, and your heart will thank you.

Your First Steps After Receiving Your Manuscript Back From Your Editor

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It’s scary enough to give your manuscript to an editor at the beginning of a project, but perhaps the scariest moment will be receiving those documents back. You’ve probably spent the entire project building it up in your head, guessing what your editor will think about this plot point or that character. If you’re anything like me, you’ve been having entire conversations with your editor in your head, where you defend your choices or argue about why you won’t be compromising on the suggested changes.

But really, it doesn’t have to be so scary. In fact, this is an exciting moment, the beginning of the next phase, wherein you get to revise and make your book so much better than it was before. And that’s not saying your book wasn’t great in the first place—but I truly do believe that every book gets better having been edited. Here’s how you can set yourself up for success after you receive those edits back:

Don’t freak out

Seriously. Calm down. It’ll be okay. Practice some deep breathing exercises, and do your best not to build it up in your head. Respond to your editor with a nice email letting them know you received their edits and you appreciate their work. Do a few more of those breathing exercises. You got this.

Set the mood

If you’re already in a bad mood, if you didn’t get any sleep last night, if you’re stressed out about too many other things—now is not the time to start revisions. Revisions will feel vulnerable, and just like you shouldn’t have a tough conversation with your partner when you’re overly tired or emotional, you shouldn’t read through your editorial letter or edits while you’re overly tired or emotional. When you are ready, set the mood by sitting somewhere comfortable and with few distractions. Grab a notebook and pen so you can jot down questions that come up. Put the do-not-disturb sign on the door, and settle in.

Read the entire editorial letter

For me, at least, my editorial letter is basically an introduction to the things I think need to be changed. I review large plot issues, my thoughts about the characters, a list of some of the large-scale grammatical or spelling changes I made, and praise my favorite parts of the book. I also include some instructions on best practices for moving through your edits, as well as an overview of how I approach editing. Because so much is covered, I suggest that you start out by reading this editorial letter in full before you do anything else. Consider taking notes while you’re reading, or highlighting sections you want to come back to. Being that this letter might be anywhere from three to thirty pages long (depending on the length of your book, the editing services performed, and how many changes I found in total), this might take you a while, but at the end, you’ll have an idea of what revisions you’ll need to make, or at least consider. It’s like taking a look at the forest before you focus on individual trees.

Take a break if you need to

If the letter was particularly rough, or if it just took you a while to read through and comprehend, feel free to take a break here to get back into the right mindset. If the distractions are banging down your door again, attend to them, then come back when things are settled down. You don’t have to do all of this at once.

Read through all the comments and edits in the manuscript

When you’re ready to come back, your next step will be to read through all the changes in the manuscript, paying special attention to comments. You’ll probably find that a lot of these comments correspond to points in the editorial letter you just read, or are smaller suggestions overall. Changes you need to make toward the end of the manuscript may inform the way you make changes toward the beginning, so resist your urge to make changes now, and save it all for when you have a plan.

Ask for clarity

Once you’re done reviewing both the editorial letter and the manuscript edits, collect your thoughts. Review those notes. Let things settle into your brain. Think about your plot points and characters, about the insight that you now have. If there are any questions that came up for you, or areas that were addressed but perhaps not completely clear, feel free to reach back out to your editor! Most editors I know will be happy enough to clarify things for you.

Think about things, then make a plan

Once you’ve wrapped your mind around things, it’s time to make a plan. I generally suggest that authors begin with large-scale changes, like plot points and character development. Those are the elements that may affect things throughout your manuscript, not just in one particular area. Make a list of the things you need adjust, and keep getting smaller and smaller, until the final things you work on are the small tweaks that shouldn’t take long at all.

Now go revise

With all this new information, as well as a plan of attack, you should be able to jump into revisions when you’re ready!

Help! My Revisions are Taking Too Long!

This post may contain affiliate links to products I use and love. If you buy something through one of those links, there is no additional cost to you, but I may receive a small commission, which helps pay for my continued work. Read my affiliate disclosures here.

Whether you’re working on your own revisions on yet another draft, or you’re completing revisions after your editor has had their way with your manuscript, it’s easy to feel like you’re not doing it in the right amount of time. If it’s taking longer than expected, you might think that you had too many changes, so you must be a bad writer, or perhaps that your editor was too heavy handed, so they must be a bad editor. You might think you’re too slow or even too dumb. If revisions are going too quickly, you might assume that you’re missing things, that you hired a crappy editor that didn’t catch enough, that your book is still gonna suck.

None of these thoughts are fact. The truth is, there are so many variables when it comes to completing your revisions (just like completing your first draft, or your second!), and none of them mean anything about your intelligence or your capabilities as a writer. So what CAN affect the time it takes to do revisions? Here are a few of those variables:

The length of your novel

This one might be the most obvious! The length of your novel can absolutely affect how long it takes to complete your revisions. If you wrote a 150,000-word epic fantasy, it will take you a whole lot longer to comb through it than if you wrote a 30,000-word novella. Even if you know your novel like the back of your hand, a revision that is thorough should be expected to take some time, so try not to rush yourself or become frustrated if it’s not done in whatever amount of time you expected.

What draft you’re on, or what level of editing you had completed

The amount of time it takes you to complete revisions will also largely be dictated by what draft you’re on. If you’re on your second draft, you’re likely to have more to clean up than if you’re on a third or fourth draft. Likewise, the level of editing you had completed can really affect how much work you have to do. A developmental edit might require heavy plot or character changes, which might take longer to plan out and weave throughout your full manuscript. Copy editing, even with a heavy hand, might take quite a bit less time because it’s more straight forward, and often doesn’t require a lot of preplanning on your part. And even more obvious, proofreading should really only be catching typos and small errors, so it should be the quickest of all the revisions.

Your writing experience level

Now, this doesn’t have anything to do with intelligence or how good of a writer you are. The truth of the matter is that if you’ve written and revised many times, you’re going to be faster at it than if this is the first time you’ve done so. When you revise multiple projects over time, you naturally develop a system that increases your efficiency. Likewise, as you keep writing and revising, over time, you start to understand your own voice and style, so you already know what your weaknesses might be, and what areas to focus on. It’s only natural that as you gain experience with writing, your revision process goes faster and faster each time.

What else is going on in your life right now

I can’t emphasize this one enough. When all is said and done, if your personal life is extremely busy, you likely just won’t have as much time to write or revise. This is true whether your writing is a hobby, a side hustle, or your full-time gig. Our personal lives can easily take over our writing life, not only time- and schedule-wise, but by hijacking our mood. If we’re having a bad day, it’s a lot harder to dive into a rom com that you’re trying to revise, so you can’t always predict how long revisions will take. There’s just too much life stuff that can interrupt.

So stop berating yourself for not revising fast enough, and give yourself a little grace. You’ll be done in due time.

Why Forcing Your Book Into the Wrong Genre Only Hurts You

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I have recently seen multiple authors insisting that their book fits one genre, but refusing to adhere to the rules of that genre in the same breath. Not surprisingly, not long after, they’ll complain about low sales and negative reviews, but have no idea why. Well, I’m here to tell you the tough truth:

Forcing your book into the wrong genre only hurts you.

I see this the most with romance novels, because the romance genre tends to be very picky. There are many subgenres to sort out the particulars, but there are still a handful of rules that all romance novels, no matter the subgenre, must adhere to. The stickiest, in my humble opinion, is that every romance novel must have a happily ever after (HEA), or, at the very least, a happily for now (HFN). There are no ifs, ands, or buts about this rule. If there is not an HEA or an HFN, it’s not a romance novel.

There are, of course, some loopholes here—say, you write a three-book series about the same couple, and the first two books end in cliffhangers, but by the end of the third book, everything is resolved. The characters aren’t necessarily happy at the end of the first two stories, but they are happy at the end of the series. Technically, this can still fit into the romance novel genre, but you probably shouldn’t break any other romance rules while you’re at it (heaven forbid, one of them cheats!) or you’ll have romance readers knocking down your door. The only reason you can call the three books romance novels is that the romance is the most important plotline, and also, the characters are going to end up happy in the end.

On the other hand, if your characters all die at the end, a la Romeo & Juliet, you do not have a romance novel on your hands. But, you say, the romance is the most important plotline! Well, that’s great, but there is no way to have a HEA or HFN in this story. But, you insist, it has to be a romance novel. You love romance novels, and romance readers will probably love this book!

Let’s back up for a moment. What’s the point of choosing a genre in the first place? Yes, it’s a way of categorizing books in the library and in bookstores, but even more than that, it’s a way of getting your book in front of the right readers. It’s the reader’s job to know what type of books they like, and then search them out. So a romance reader probably has all the typical romance reader expectations: the book must end with an HEA or HFN, there’s no cheating, the romance is the most important plotline, etc. They can confidently pick up any book marked Romance and know that it’s going to satisfy all of these requirements. They know that they won’t be disappointed by sad endings or other plotlines overshadowing the all-important romance.

Perhaps you write a novel that’s been in your heart for years. You can practically see the scenes jumping off the page, and writing the full-length novel is one of the easiest things you’ve ever done. You title it Romeo & Juliet 2.0 to make sure that romance readers know this is the one for them. The story follows two modern young adults from opposing football teams who fall in love despite their families’ hatred. They split up in the end, but that’s better than dying, right? You’ve even twisted some of the elements—it’s now darker, grittier, and even has some paranormal elements to it.

So let’s say that you insist on calling R&J 2.0 a romance novel. A romance reader is going to pick up your book with those romance genre expectations, and what will they find? They’re sure not going to find an HEA or HFN there! And now, that romance reader is pissed. They feel disappointed in the story. They’ve been let down. Their expectations have not been met. And so they write a negative review on Amazon, and on Good Reads, and maybe at an independent bookstore or two for good measure. They tell their friends your book sucks. They refuse to read another book from you in the future. They move on to other romance novels that they expect will live up their expectations.

So who is hurt here? Yes, the reader is still pissed, but in the end, by forcing your book into the romance genre, you only hurt yourself. You hurt your reviews, you hurt your sales, and you hurt your career.

Now alternatively, you could have placed R&J 2.0 in a more appropriate genre, like dark fiction with romantic elements. Now, the right readers—who enjoy tormented characters and dark themes, and don’t care about happily ever afters—can find the book. These are the readers who will love your book, who will write positive reviews and share with friends, and who will pick up your next release without a second thought.

I know that as authors, we can become attached to a particular genre, especially if we’re avid readers of that genre ourselves. It’s tempting to say that we fit into a genre, even if it’s not quite the right fit for us. But next time you’re choosing a genre for your book, think twice. Are the readers of that genre your target audience? If not, it might be time to reconsider a new genre.

How to Find the Right Editor for Your Project

This post may contain affiliate links to products I use and love. If you buy something through one of those links, there is no additional cost to you, but I may receive a small commission, which helps pay for my continued work. Read my affiliate disclosures here.

It can be nerve racking and anxiety inducing to hand your manuscript off to someone else, but it has to be done! Editing is such an important part of the process, and can bring so much clarity to your story. The best part? The more times you do it, the less scary it seems! To make yourself feel a little bit better, here are a few things to help you determine who your right-fit editor is.

Keep an eye out for quality

The first step to making sure an editor is legit is pretty simple: make sure their website looks the part. I’m not saying it needs to be a professionally designed website, but make sure it’s not riddled with errors. I like the look of a website that has been updated semi-recently (or at least shows that the editor is still in business), offers information about each of the services, and perhaps includes some testimonials or a portfolio. You should be able to get a general vibe about this editor from their website or social media accounts alone. If you’re not getting a good feeling from them overall, perhaps keep looking.

Expect a reasonable response time

When I contact someone I want to work with, I expect to hear from them in a day or two, or whatever’s reasonable (I always assume that they don’t work weekends or holidays, so I’m generally more forgiving during those times). If the editor lists a response time on their website, that should be your expectation going forward. If they don’t include an expected response time, you can assume it will be something reasonable, like a handful of days. If your response goes unanswered for a week, it might be time to inquire somewhere else.

Ask for a sample edit

I’m always surprised by how many editors don’t just offer this in the first place, as I’ve found that it’s incredibly helpful to me, and to my potential clients!

For me, the sample edit lets me “practice edit” the project, which gives me an idea of how long it will actually take to edit the full manuscript. My pricing is so much more accurate after this—far more accurate than an approximated guess might be.

For you, as the potential client, this sample edit allows you test drive what the edits and comments might look like. Does the editor come across as a little too blunt for your taste? Do they only offer short comments without explanations, or do they make sure that you understand their thought processes each time? There’s no one-size-fits-all for editors, and your preferences might be different than the next writer’s. Taking a peek at this sample edit will definitely help you determine if you and the editor will be a good fit or not.

I’d also like to point out that this sample edit provides a great opportunity for you to test out the technology. Make sure you understand how to accept a change, or reject one. Delete a few comments. Make sure that however the editor returns the manuscript is compatible with whatever program you plan to use. If you think there might be a compatibility issue, or if you need the editor to accommodate technological limitations, it should be discussed with your potential editor at this point, not later down the road when you’re finalizing plans.

Engage with them about your project

I love to talk with potential clients about their projects! Knowing what their publication plans are, how confident they are about editing, what they’re most worried about, and where they see their writing career going can help me tailor the project to them. It’s helpful to see what the author thinks their strengths and weaknesses are, because often, I see different ones, and can call attention to them appropriately. I might tweak different sections in my editorial letter or style guide based on what the author wants, or even shift how much I explain in my comments. The services I offer for this particular project might change as well. Knowing this information also helps us set expectations on both sides before we even begin collaborating. If we can get on the same page, the project is sure to go off without a hitch.

Review their portfolio, testimonials, etc.

Most editors have these things readily available on their websites, and they can be treasure troves of information. While perusing their portfolio, take notice of what genres come up the most, and if you’ve read any of the books. While reading through testimonials, take note of patterns you see, the same praise being given over and over. If any of this clicks for you, that might be a sign that this is the right editor for you and your project!

Ask your writing friends for suggestions

Of course, a surefire way to find an editor you trust might be to ask for recommendations. You can ask your writing friends, or even post on writing-related Facebook groups or forums. Knowing that other people have worked with the editor and can vouch for them can really make a difference. Make sure to ask lots of specific questions to the person doing the recommending. It’s nice to get a good idea of what the editing process was like for them with more specifics than “I loved working with so-and-so.”

The lesson here? Don’t be afraid to talk to your editor about your project, about how they work, and about how you can have a successful collaboration. If the editor is worth their salt, they’ll be happy to get on the same page with you too.

Are You Giving Yourself Enough White Space?

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My husband is an artist. He takes a piece of leather, a laser cutter, and some paint, and makes these beautiful works of art. He’s made eels and satellites and faces and, my new favorite, a stag. He can knock out a new one in a matter of hours, and I’m always astounded by the piece of art he can make in an afternoon.

But sometimes, he just doesn’t make anything at all.

Some afternoons, he says, “I don’t know what to make. I think I’m going to rest instead.”

And so he does.

He sits on the couch or watches TV or scrolls through social media or talks to friends or whatever appeals to him that day, but he doesn’t do creative work. He takes a break from the deep work of always making something.

And then the next day, or sometimes the day after that, he says, “I have an idea!” and he’s back in his workshop, creating his next masterpiece.

That rest provides white space, a break from creativity, from your brain always being on. That rest is exactly what his brain needs.

Do you give yourself enough white space?

Writers are often always on. Thinking about their characters (or talking to them!). Building a world in their head. Plotting out the next section of the book. Formulating new ideas. Thinking about new titles. Brainstorming goals, motivations, and conflicts. Trying so damn hard to be creative.

But what about the white space?

It’s no coincidence that so many of us get our brilliant ideas in the shower. The ten or fifteen minutes we spend standing under the hot water can provide brilliant white space, where our brains are free to meander where they want, and BAM! There’s the new idea you’ve been struggling with for days.

So maybe take an afternoon off and just do nothing. Sit outside in a shady spot and soak up nature. Meditate for ten minutes. Sit on the couch and just be. Hell, take another shower.

Take a few minutes to give your creativity a break.

What to Do if You Receive a Heavy-Handed Edit

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Picture this: you receive your manuscript back from your editor, and it’s been so heavily edited that you can’t find your voice anymore.

That’s the stuff of nightmares, right?

I’m pretty sure every writer has thought of this before, and maybe even stressed out about it. So what do you do if it actually happens? Here are some tips to finding the bright side if you receive an edit that’s just too heavy handed:

Don’t run out and post about it online.

I’ve seen authors do this in writing-related Facebook groups time after time. You get upset, you take it personally, and you find other writers to commiserate with. I’m not saying you can’t go vent to other writers, but you should first slow down and investigate. Approach it professionally first. Do your due diligence before you grab a pitchfork.

Take a closer look.

A heavy-handed edit alters an author’s voice, but what is voice, really? To me, voice is how you tell the story, including (but obviously not limited to) how much or how little dialogue or narrative writing you use, how formal or informal your tone is, and the way you craft your descriptions. So look closely. Did the editor really change these things, or does it just seem like there are a lot of edits? If they actually changed grammatical errors, pointed out repetition or redundancy, and suggested places where you can add more dialogue or description, they might not have eliminated your voice at all. Look for comments that explain their reasonings behind the changes they made. A good editor will protect an author’s voice as much as possible, so at least give them the benefit of the doubt and take a long, hard look at what they actually changed.

Reach out to the editor.

If your editor really did mess with your voice to an inappropriate degree, it might be time to reach out to them. Keep your head about you, though. Don’t come in with guns blazing. Instead, ask specific questions, do not assume ill intent, and allow them a chance to explain things. Have enough respect for your editor to have a conversation with them.

Take it with a grain of salt, and decide what YOU want to edit.

At the end of the day, take your edits exactly for what they are—suggestions. By no means do you have to make all the changes that the editor offered you, but you should at least consider them. This is your book, and you control it, so take the time to understand the suggestions, then make a decision and move to the next.

BONUS! Set your expectations up front.

This scenario really highlights why it’s important to vet your editor up front. This includes getting on the same page about what they’re offering you, making sure they know what you need from them, and understanding how they edit. The best way to do this is to request a sample edit. It doesn’t have to be long (in fact, my sample edits might range from one to five pages, depending on how quickly I find something to suggest), but seeing a sample of their editing style up front will tell you almost immediately if their work will resonate with you.