Editing a Novel: Self-Editing, And How To Work With A Professional Editor With Joanna Penn

How can you improve your self-editing process? How can you find and work with professional editors and beta readers? How do you know when editing is done and the book is finished? With Joanna Penn

In the intro, Poetry craft and business [The Indy Author Podcast]; A Mouthful of Air; How to get your book featured in local media without a publicist [Written Word Media]; thoughts on faith and code; Wild Dark Shore – Charlotte McConaghy; Bones of the Deep – J.F. Penn.

Today's show is sponsored by ProWritingAid, writing and editing software that goes way beyond just grammar and typo checking. With its detailed reports on how to improve your writing and integration with writing software, ProWritingAid will help you improve your book before you send it to an editor, agent or publisher. Check it out for free or get 15% off the premium edition at www.ProWritingAid.com/joanna

This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn 

Joanna Penn is an award-winning New York Times and USA Today bestselling author of thrillers, dark fantasy, short stories and travel memoir under J.F.Penn and also writes non-fiction for authors.

• Overview of the editing process
• Self-editing
• How to find and work with a professional editor. My list is at www.TheCreativePenn.com/editors
• Beta readers, specialist readers, and sensitivity readers
• When is the book finished?

These chapters are excerpted from How to Write a Novel: From Idea to Book by Joanna Penn, available direct or on all the usual stores.

Overview of the editing process

“Books aren’t written. They’re rewritten.” —Michael Crichton

Thomas Hardy’s Tess of the d’Urbervilles is a classic of English literature. I studied it at school and the scene at Stonehenge still haunts me. Hardy’s Jude the Obscure influenced my decision to go to university in Oxford, a city Hardy called Christminster. His novels are still held in great esteem, which is why it’s so wonderful to see his hand-edited pages in the British Library in London, displayed in the Treasures collection. You can visit them in person or view them online.

While his handwriting is a scrawl, it’s evident from the pages just how much editing Hardy did on this version of the manuscript. There are lines struck through, whole paragraphs crossed out, arrows moving sections around, words and sentences rewritten, and comments in the margins. Even the title is changed from A Daughter of the D’Urbervilles to Tess of the D’Urbervilles as we know it today.

Those edited pages gave me hope when I saw them for the first time as a new fiction author. Not that I thought I could write a classic of English literature, but that I could learn to edit my way to a better story.

There are several stages in the editing process, which I’ll outline here and then expand on in subsequent chapters. As you progress in your craft, you won’t need every stage every time, so assess with each book what kind of editing you need along the way.

Self-editing

The self-editing stage is your chance to improve your manuscript before anyone else sees it. For some authors, this stage might mean rewriting the entire draft. For others, it involves restructuring, adding or deleting scenes, doing line edits, and more.

Developmental or structural edit

An editor reads your manuscript and gives feedback on specific aspects, character, plot, story structure, and anything else pertinent to improving the novel. It is sometimes described as a manuscript critique.

You will receive a report, usually ten to fifteen pages, with notes on your novel, which you can then use in another round of self-editing.

While this is not always necessary, it can be a valuable step and something I appreciated particularly for my first novel when I had so much to learn.

Copyediting and line editing

This is the classic ‘red pen’ edit where you can expect comments and changes all over your manuscript. This edit focuses on anything that enhances the writing quality, including word choice and phrasing issues, as well as grammar, and more.

Some editors split this edit into two, and there are differences between what this edit is called between countries. For some editors, a copyedit includes only attention to grammar and correctness, while a line edit focuses on improving and elevating sentences. Be clear about your expectations and that of your editor upfront.

You will usually receive an MS Word document with Track Changes on as well as a style guide or style sheet and other notes, which you can then use to make revisions during another self-edit.

This is the most expensive part of the process, as editors usually charge per 1,000 words based on the type of edit you want. If you need to cut your story down by 20K, then do it before you send your manuscript for a line edit!

Beta readers, specialist readers, and/or sensitivity readers

Some authors use different types of readers as part of their editing process.

Beta readers are often part of the author’s community and are certainly fans of the genre. They read to help the author pick up any issues pre-publication.

Specialist readers are those with knowledge about a topic included in the story. For example, a vulcanologist read specific chapters of Risen Gods to check that the details about volcanic eruptions were correct.

Sensitivity readers check for stereotypes, biases, problematic language, and other diversity issues.

You will usually receive comments or an email with page numbers or chapter numbers, or sometimes an MS Word document with Track Changes, which you then use to make revisions.

Many readers provide services for the love of helping their favorite author with a novel and a mention in the acknowledgments, but there are some paid services for specialist and sensitivity readers.

Proofreading

Proofreading is the final check of the manuscript pre-publication for any typos or issues that might have been introduced in the editorial process. For print books, this can include a review of the print proof with formatting.

You should only fix the last tiny changes at this point. Don’t make any major changes this close to publication or you may introduce entirely new errors.

Do you need an editor if you intend to get an agent and a traditional publisher?

You will go through an editorial process with your agent and publisher. But if you want the best chance of getting to that stage in the first place, it might also be worth working with an editor before you submit your manuscript to an agent. Look for an editor who will help you with your query letter and synopsis as part of their edit.

Self-editing

I love this part of the process! My self-edit is where I wrangle the chaos of the first draft into something worth reading. I have my block of marble and now I can shape it into my sculpture.

The mindset shift from writer to editor, from author to reader

In the idea, planning, discovery, and first-draft writing phase, it’s all about you, the writer.

You turn the ideas in your head into words that you understand, characters that come alive for you, and a plot that you’re engaged with. In that first rush of creativity, you can banish critical voice and ignore any nagging doubts.

But now you need to switch heads.

That’s how I prefer to think about it, but you might consider it as changing hats or changing jobs. Anything to help you move from the creative, anything goes, first-draft writer to the more critical editor.

There is one overriding consideration in this shift. As Jeffery Deaver says,

“The reader is god.”

With the editing process, you need to turn your story from something you understand into something a reader will enjoy.

Writing is telepathy. It connects minds across time and space.

You are reading these words and the meaning flows from my brain into your brain — but only if I craft the book well enough. The same is true of your novel.

Yes, of course, you want to double down on your creative choices and make sure you achieve everything you want to with your story. But you also need to keep the reader in mind as you edit because the book is ultimately for them.

• Will your story have the desired effect on the reader?
• What might help improve their experience?
• How can you make sure that they are not bored or confused or jolted out of the story?
• What will make them read on and, at the end, close the novel with a sigh of satisfaction?

My self-editing process

At the end of the first draft, I print out my manuscript with two pages to each A4 page, so it looks more like a book. I put it in a folder and leave it to rest. You need fresh eyes for your edit and this ‘resting’ gives you some emotional distance.

In On Writing, Stephen King suggests leaving a manuscript to rest for at least six weeks. While that is a great idea if you have the time, most authors work to deadline, whether externally set or their own timetable.

Many authors — including me — are also impatient! I love this first self-edit, and as I’m still crafting the story as a discovery writer, I usually rest the manuscript for a week or two.

I schedule blocks of time for editing in my Google calendar and (when not in pandemic times) I go to a café when it opens first thing in the morning. I put on my BOSE noise-cancelling headphones and edit by hand with a black ballpoint pen from page one to the end.

I usually manage ten to twenty pages per editing session of a couple of hours each, but it will depend on the amount of restructuring I need to do.

I scribble notes in the margins, draw arrows to move paragraphs around, write extra material on the back of pages, or add where I need to write more later. I change words, rewrite and delete lines, and pick up any issues around lack of sensory detail, character problems, and more.

You can see an example of a page below:

Some pages end up a mass of black; others are relatively clean. But in this first hand edit, no page goes untouched as I hone my manuscript into something closer to my creative goal.

You can edit on a computer or a tablet, or whatever else works for you, but at least change the font or the spacing, or something to make it a different experience to reading the first draft.

Most writers have a tendency to either overwrite or underwrite, and so will either need to cut words or add words at this stage. I’m in the latter camp so I usually have to add scenes or deepen characters or theme at this point.

Once I have hand-edited the whole manuscript end-to-end, I make the changes in my Scrivener project. I change the color of the flags along the way and, as ever, I back up the session. I also use ProWritingAid at the sentence level to fix up things I missed, because we all miss things!

When all the changes have been made, I print the complete manuscript again, and read end-to-end and edit as before. This time, it’s usually a lot cleaner and there may only be a few things to fix in each chapter.

Once I’m finished, I’ll update the Scrivener project once more and then decide whether it needs a third pass. Mostly, two full end-to-end hand edits are enough for me these days, but sometimes I’ll do a third or go through specific chapters one more time.

This messy editing process is fun for me and it’s hugely satisfying to see my story come to life.

What to focus on in the self-edit

Some authors will go through the manuscript multiple times, focusing on different elements with each pass using the aspects covered in Part 3 and Part 4. For example, they’ll do an edit based on character and dialogue, followed by another pass for plot, then theme, and so on.

Personally, I try to keep the reader in mind and focus on the story as a coherent whole. That’s just how my mind works.

I jump from fixing a plot issue to deepening a character to adding foreshadowing and so on as I read and edit. I’m confident that my editor will find a lot of the smaller things that I might miss, so I concentrate on trying to achieve my creative vision with the story.

You will find your own way of figuring out your process. It’s much better to jump in and have a go at editing rather than trying to work out the best way before you have something to work through.

Lost the plot? Try reverse outlining

If you’re a discovery writer like me and you’re struggling with the edit and you feel you have lost the plot (which definitely happens sometimes!) then consider a reverse outline as part of your editorial process.

Go through the manuscript and write a few lines per scene. Include character, plot points, conflict, setting, open questions and hooks, and any other notes.

This will help you step back and hopefully see the entire story from a high level. Then you can dive back into rewriting each chapter.

Read the book out loud or use a text-to-speech reader to do it for you

Many authors read their book aloud end-to-end, which is a helpful step once you’ve been through any major rewrites.

There are also plenty of text-to-speech tools that can help, for example, Natural Reader or Speechify, and some are built into devices or applications. MS Word includes a Read Aloud tool in the Review tab. This will also help you edit for audio as you’ll hear issues you can’t see on the page.

Editing for audio

Audiobooks are a huge growth market and many readers will listen to your book rather than read it, so it’s a good idea to consider editing with audio in mind at this stage. Here are some tips.

Watch out for repeated sounds. 

The editorial process will usually catch repeated written words, but similar sounding words can hit the same audio note in narration. You might not notice them in the text, as they are spelled differently. The words ‘you,’ ‘blue,’ ‘tattoo,’ and ‘interview’ all start and end with different letters. They look different on the page, but they strike the same audio note when read aloud.

In the same way, repetition can work if you have a point to make, but sometimes it jars the listener if it is overused.

A classic recommendation for writing dialogue is to use ‘said’ with a character name rather than other words like ‘uttered’ or ‘pronounced.’ This is because ‘said’ disappears for the reader on the written page. But with audio, the repetition of a word is highly noticeable, and repeated sounds can dominate a passage.

Rewrite with synonyms for ‘said,’ or use action to make it clear who the speaker is without resorting to dialogue tags, as described in chapter 3.5.

Contractions — or the lack of them — can also become more obvious in audio.

“I am not going to the park,” might be spoken as “I’m not going to the park.” When we type dialogue, it is often more formal than the way someone speaks, so check if you can contract it in your edit.

Accents can be an issue with fiction narration.

There are plenty of narrators who do a ‘straight read,’ but if there are accents within dialogue, make it clear where the character comes from. Make sure the narrator knows about the accent choice upfront, otherwise you might not like it in the finished audio. Remember my friend whose novel had an Irish character narrated like a comedy leprechaun instead of the soft lilt she had in mind?

Don’t confuse the reader. 

If you have a lot of characters appearing in a chapter and no clear character tags, you might lose the listener in the detail. 

When reading on paper or a screen, your reader can quickly flick back and see that George was the butler and Angus was the dog, but that’s harder to do when listening to an audiobook. Make sure it’s clear who is who. You may have to remind listeners occasionally by adding character tags. For example, ‘Angus ran alongside the canal’ could become ‘Angus, the golden cocker spaniel, ran alongside the canal.’

For more on audiobooks, check out my book, Audio for Authors: Audiobooks, Podcasting and Voice Technologies.

How many drafts do you need?

The word ‘draft’ means different things to different authors. Some only apply this term to a complete rewrite end-to-end, while others will shift paragraphs around, change some lines, add a new scene, and call that a new draft.

Nora Roberts said in a blog post on her writing craft, 

I work on a three-draft method. This works for me. It’s not the right way/wrong way. There is no right or wrong for a process that works for any individual writer. Anyone who claims there is only one way, or that’s the wrong way, is a stupid, arrogant bullshitter. That’s my considered opinion.

I love Nora’s no-nonsense approach and she is right that there is no single correct process. You have to find your own. But beware of comparing what you call a draft to what another writer calls a draft. It may be something completely different.

Use editing software

Once I’ve finished my hand edits and updated the Scrivener project, I use ProWritingAid on the manuscript. It integrates with Scrivener, so I open my project and go through each chapter.

ProWritingAid picks up passive voice, repetitive words, commas and typos, suggests rephrasing, and even picks up culturally problematic language.

Yes, these are the type of things that an editor will pick up, but I want to hand over a manuscript that is as clean as possible so my editor can focus on other issues. I don’t make all the suggested changes, but it certainly helps improve my writing, and I learn as I go through. You can even create your own style guide so you spell things the same way throughout.

This is also a good chance to check typos according to the version of English you want to use (or any other language). I’m English and based in the UK, but when I published my first novel, I received complaints about typos from my readers, who were mainly in the USA. These were not typos, they were just British spelling!

I decided to use US English in my books because US readers complain about UK spelling, but non-US readers will rarely complain about US spelling because they are used to it. You can set ProWritingAid to the type of English you want to use, and if you specify this later, your editor can pick up on word usage rather than typos, for example, using the term ‘flashlight’ instead of ‘torch.’

• You can find ProWritingAid at: 
• www.TheCreativePenn.com/prowritingaid
• You can find my tutorial on how to use ProWritingAid at: www.TheCreativePenn.com/prowritingaidtutorial 

When is your self-edit finished?

You will be utterly sick of your manuscript by the end of the self-editing process.

You have read your words so many times you can’t see them clearly anymore. You are so over the whole thing that you want to forget the book altogether. If you don’t feel this way, you probably haven’t self-edited enough!

When you really feel you can’t do any more, it’s time to work with a professional editor.

If you are putting off the end of self-editing, then remember that nothing is ever perfect. You can edit forever if you keep obsessing over changes and going over and over the same material. If your self-edit goes on too long, consider whether perfectionism is holding you back. Set a completion date and hold yourself to it.

How to find and work with a professional editor

If you want your book to be the best it can be, then working with a professional editor is the next step.

An editor’s job is to take your manuscript and help you improve it through structural changes and story development, line edits, suggestions for new material or sentence refinement, and so much more. Different kinds of editors can help you in different ways from constructing the overarching story to eliminating the final typo.

In my experience, good professional editors are well worth the investment as they help improve your book and your craft, especially in the initial stages of your writing journey. They have read so many early-stage manuscripts that they understand the most common problems and know how to help you fix them.

Some experienced authors only use proofreaders for their novels, but personally, I still work with a professional editor on every book and I learn something every time. I am a super-fan of editors!

How to find a professional editor

Consolidation in the traditional publishing industry over the last decade has resulted in many more editors working as freelancers, so authors have a wealth of professionals available for hire in every genre.

You can find lists of approved editors through author organizations. The Alliance of Independent Authors has a list of Partner Members, many of whom are editors. You can also use author marketplace Reedsy.

Many editors use content marketing to find clients — for example, blogging about editing tips, writing books on editing, or appearing on podcasts. I have had lots of editors on The Creative Penn Podcast over the years, so you can listen and see if they resonate with you.

Most authors credit their editors and proofreaders in the acknowledgments of their books, and many authors happily share recommendations on social media in various author communities. If you enjoy a certain novel, it might be worth reaching out to that editor, as you know they are a specialist in the genre.

Check out my list of editors at: www.TheCreativePenn.com/editors

How to assess whether an editor is right for you

I frequently get emails from writers asking me to recommend an editor for their book.

But finding an editor is like dating.

You have to do it for yourself, and it’s likely that you will try a few before you find your perfect match. You may also change editors over your writing life as your craft develops and your needs shift, and that’s completely normal too.

Make sure the editor has experience in and enjoys your genre. You don’t want a literary historical fiction editor working on your YA paranormal romance or your hard sci-fi adventure.

Ensure that the editor has testimonials from happy clients, and check directly with a named author if you have doubts.

Some editors will offer a sample edit for one chapter. This helps both parties decide whether working together is appropriate. The editor can assess what level your manuscript is at, and you can decide whether their editorial style is right for you.

How to work with an editor

When you engage an editor, you will receive a contract with a timeline and a price for the work.

You agree to deliver the manuscript on a particular date and will usually pay a deposit, especially if this is the first time you’re working together. The editor agrees to deliver the edits back on a certain date and also to keep your manuscript in confidence.

You can avoid issues later by communicating expectations up front, so if you have questions about the editing process, ask before you sign a contract.

Many editors are booked months in advance, so once you know your schedule, contact them early and book a slot. Update them if your timings change. Most allow minor slippage, but since editors plan their work around contractual dates, it’s important to be timely with delivery. As a discovery writer, I only book my editor when I am sure of my dates.

Submit your manuscript and, once the edit is complete, you will receive whatever has been agreed. That might be a structural report, line edit, or proofread manuscript, along with a style sheet. It’s usually in the form of an MS Word document by email.

Some editors may offer a call to discuss, but I have never spoken to an editor as part of my process. It has never been necessary. It’s all about the words on the page. If you want a call and it is not specified, then include it in the contract up front along with anything else you’re concerned about.

I consider my editors to be an important part of my team. They help me turn my manuscripts into books that readers love, and I rely on them as part of my business. This is a two-way relationship, and you need to behave as professionally as the editor should. If you find an editor you love working with, pay them quickly and respect their time, and you will hopefully have a long-term business relationship that benefits you both.

How does it feel to go through an edit?

It’s probably going to hurt, especially in the beginning, when your craft is in its early stages. You need fresh eyes on your work, especially at the beginning of your author career. You need feedback to improve.

When I received notes back on my structural edit for my first novel, I didn’t open the email for ten days. I was so scared of what it would say because my novel meant so much to me, and yet I knew it had problems. Of course it did, it was my first novel! So I let the email sit in my inbox until I was ready to face it, and like many things, the fear was worse than the actual event.

Even many years and many books later, I still don’t open emails from my editor until I am mentally ready to face criticism.

Because that’s what it feels like.

It is not the editor’s job to pat you on the back and say, ‘Well done, this is perfect.’

Their job is to help you make it the best book it can be. They are experts and have honed their advice over many manuscripts, so they can spot an issue a mile off.

When you receive that email from your editor, particularly if it’s your first book, make sure you are well rested and in a positive frame of mind. Set aside a good amount of time and read through the comments and the manuscript as a whole.

If you have an emotional reaction, do not email back immediately!

Let the feedback sit with you for a few days, and you will find it easier to see what might need to change.

Once you’re ready, go through the manuscript and work through each change. Don’t just click Accept All on the Track Changes version for a line edit. This takes time, but it’s well worth it because you will learn with every step and you’ll be able to spot your common issues in the future, and hopefully fix them next time. You also need to examine every suggestion to see if you want to make the change.

Do you need to make every change that an editor suggests?

No, you don’t. 

You are the author, so your creative vision is the most important thing. But try to get some distance and assess whether the change truly serves the book, or if you’re just having an emotional response. Remember what Jeffery Deaver said: “The reader is god.”

Consider each editorial suggestion on its own merit. Does it help take the story in the direction you want it to? Will it improve the reader’s experience?

What if my editor wants me to change everything?

Perhaps they are not the right editor for you.

The editor should not fundamentally change your story or alter your creative vision. Their job is to help you shape your manuscript into a better version of itself, and retain your voice and ideas while at the same time improving it for the reader. This is a skillful balancing act, which is why experienced editors are so highly sought after.

How long will the editing process take?

This will depend on the type of writer you are in terms of the first draft. If you outline in great detail and spend time up front making the first draft the best it can be, then editing might take less time than for a discovery writer who only figures out the book after the first draft.

The more books you’ve written, the more you understand how to shape a novel, the more you can write a clean draft, so editing speeds up. That doesn’t mean it gets easier to write a book, but it does mean you know how to find and fix issues.

It will also depend on the length of the book. A 50,000-word romance with one protagonist will be a faster edit than a 150,000-word sprawling fantasy with multiple point-of-view characters.

It will also depend on your experience, so don’t compare your editing time to someone who has written a lot of books.

Give editing the time it needs. You want your book to be the best it can be. But also remember Parkinson’s Law, which I discussed in chapter 4.7 on writing the first draft: “Work expands so as to fill the time available for its completion.” This law also applies to editing.

Set your deadline and schedule your editing time accordingly. Don’t book a professional editor until you’ve been through at least your self-editing process, as it may take longer than you think.

How much does an editor cost?

This will depend on the type of edit, your genre and word count, how experienced you are as a writer, and how much experience the editor has.

Editors usually quote a range on their website and you can also email and ask for a more detailed quote based on your manuscript length and sample.

Every dollar I have spent on editing has been worth it as an investment in my writing craft and the quality of my finished novels. Although my requirements are different now, I continue to use editors and proofreaders for all my books. The more eyes on your novel before publication, the better it will be on launch.

What if you have a tight budget?

When I started out as a writer, I had a day job and I saved up for the editorial process. It was an investment in my craft and a possible future creative career.

If you already have or intend to set up a business as a writer, then you can offset the cost of editors against any profits. But when you’re starting out, you can’t necessarily see that far ahead.

If you’re on a tight budget, then find or set up a writer’s group with others in your genre and work through one another’s manuscripts. You might also have other skills you can barter for editing services, but remember that bartering is subject to tax in many jurisdictions, so don’t assume that it is ‘free.’

What if my editor steals my ideas or my manuscript?

This is a common concern of new writers who think that editors might run away with their book and make millions with their idea.

But don’t worry, editors are professionals. They work within a contractual framework that protects both parties. So make sure you are happy with the contract before you sign it.

If you are really worried, you can register your copyright before you send the manuscript to anyone else. While it is not legally necessary to register copyright — it exists the moment the work is created — there are registration companies in every country that can provide peace of mind. Just search for ‘copyright registration’ within your territory.

Will I need different editors when I’m further along in my writing journey?

Yes, as your craft and experience improves, you will likely work with different editors. You might also choose to use a new editor for a different genre, or work with recommended professionals to take your craft to the next level.

Resources:

• My list of recommended editors: www.TheCreativePenn.com/editors

• Alliance of Independent Authors — www.TheCreativePenn.com/alliance

• The following editing associations offer directories and job posting services: The Editorial Freelancers Association (US), the Chartered Institute for Editing and Proofreading (UK), the Institute for Professional Editors (Australia and New Zealand), and Editors Canada.

Beta readers, specialist readers, and sensitivity readers

Professional editors approach your manuscript with a critical eye based on their knowledge of language, story structure, and genre. But sometimes, it’s a good idea to gain perspective from readers who are not experts on sentence structure or grammar, but comment on the story itself, and their experience of reading it as a whole.

Beta readers

Beta readers are a trusted group of people who evaluate your book from a reader’s perspective before publication. The term comes from the software industry, where early versions are tested in beta before being released to the public.

While there are some paid beta reader services, many authors find people from their existing readership, or from among genre fans in the writing community. Authors usually thank their beta readers in their acknowledgments.

Specialist readers

Specialist readers are experts on a particular topic who read with their expertise in mind. This might be a police officer who checks a crime novel, or a physicist who reads for a science-fiction author.

Sensitivity readers

Sensitivity readers check for cultural and diversity issues, lack of or clichéd representation, and insensitive, inauthentic, or uninformed language, characters, or situations.

This type of feedback can help an author before publication, and can be particularly useful if you are tackling more controversial topics. It can also be valuable when reviewing older manuscripts if you want to republish a new edition, as gendered language has changed, as well as the need for representation, diversity, and inclusivity.

While some criticize sensitivity reading as a step toward censorship, most authors want to make their books the best they can be, and ensure the reader experience is excellent, whatever the genre. Being a fiction writer is also about empathy — with our characters and with our readers — so improving our ability to write about diverse characters is important.

However, authors cannot be experts on what it’s like to experience every race or religion, every body type or disability or mental health issue, or understand every country or culture. Feedback from different kinds of readers can help us write better stories, and it is the author’s choice whether to implement suggestions in the final manuscript.

Do you need all of these types of readers?

No. You don’t need any of them, or you can choose to use some of them for different books, depending on the need.

It’s up to you (and your agent or publisher if you choose to go that route).

At what stage in the editorial process should you use these types of readers?

The book should be as close to the final version as possible. These people are reading with fresh eyes; if they read again later, they can never approach the story with such an open mind.

Most authors will send the manuscript to a select group of readers after the main editorial revisions, but before the proofread. Some authors with more developed careers even use their team of beta readers instead of editors at different stages of the process.

What should you provide to readers?

Provide the manuscript in the format the reader prefers. This could be an MS Word document or PDF. Many established authors use Bookfunnel, which allows you to create a version that can be read on any reading device or phone.

Specialist readers and sensitivity readers have their specific expertise, but for more general beta readers, you need to provide some direction as to what you expect. For example:

• Did you skip over anything? Did anything bore you?
• Was anything confusing? Did you have to reread any parts?
• What did you like?
• Was there anything you hated or objected to or had a problem with?

How long should you give them to read?

Allow at least two weeks for readers to assess and provide feedback. Be clear on the timeline when you send them the book..

Do you need to make all the changes they suggest?

No, and if you try to, you will end up straying from your creative goal, messing up your author voice, and likely pleasing no one!

Keep your number of early readers small and specific to what you want to achieve. Assess each comment and suggestion on its own merit and decide whether or not to make the change.

Be confident in your creative vision and beware writing by committee, which becomes a problem if you ask too many people for feedback. Only you can decide what you want for your novel.

Resources:

• The Reedsy marketplace includes different kinds of editors, beta readers, and sensitivity readers — www.TheCreativePenn.com/reedsy

• Directory of sensitivity readers — www.writingdiversely.com/directory

• Editors of Color — editorsofcolor.com

When is the book finished?

“I have not yet found words to truly convey the intensity of this remembered rapture—that moment of exquisite joy when necessary words come together and the work is complete, finished, ready to be read.” —bell hooks,Remembered Rapture

You can edit a book forever if you want to.

Every time you read it, you will find things to change. Every time you hire another editor, they will find more. If you work with beta readers, they will also offer opinions.

Your novel will never be finished — until you decide it is.

Nothing is ever perfect. Even if you hire three separate editors and use multiple proofreaders, you will still find a typo or an error in the published novel. Pick up any bestselling book from a traditional publisher, and you will still find an issue somewhere. It happens to everyone.

Look at any prize-winning or bestselling book on Amazon and check the reviews. The more popular the book, the more issues people will find with it. There will never be a novel that satisfies everyone, and that’s fine.

Of course, you must make sure your book is the best it can be, but set boundaries for yourself so you do eventually finish.

• Have you self-edited your manuscript?
• Have you worked with a professional editor, or at least worked through the manuscript with other writers to improve it?
• Have you used editing tools and/or a proofreader?
• Have you set a deadline to move into the publishing process so you are not editing forever?

If you have been through this rigorous editorial process and you still feel the itch to edit again, be honest with yourself.

Is another round of changes really going to make a substantial difference to this book?

Would it be better to work on the next novel instead of constantly reworking this one?

Are you struggling with fear of judgment, fear of failure, procrastination, or other mindset issues that you need to work on instead of editing? Check out my book The Successful Author Mindset if you think this might be the case.

Strive for excellence, do your best, and then release your book out into the world.

“Set a limit on revisions, set a limit on drafts, set a time limit… The book will never be perfect.” —Kristine Kathryn Rusch, The Pursuit of Perfection and How it Harms Writers

These chapters are excerpted from How to Write a Novel: From Idea to Book by Joanna Penn, available direct or on all the usual stores.

The post Editing a Novel: Self-Editing, And How To Work With A Professional Editor With Joanna Penn first appeared on The Creative Penn.