Everyone’s heard those three ubiquitous words before. It seems like English teachers can’t help themselves. Nor should they! It’s great advice, no matter what kind of story you’re writing. But just saying “Show, don’t tell” doesn’t always explain the problem, leaving writers thinking they’re showing when they’re still telling.

Instead of listing endless examples, let’s look at a few specific problems you’re trying to avoid in your writing. Knowing why you don’t want to tell makes the adage much easier to extrapolate from.

Repetition
One of the most common issues is authors who are showing and telling. For example, a character who desperately tries to explain her situation to the police suddenly stamps her foot and screams in a scene. The author doesn’t need to clarify that she’s frustrated; we get it. So the line:

She stamped her foot and screamed in frustration at the idiocy surrounding her.

isn’t necessary. We’ve just read a back-and-forth with her becoming increasingly frustrated (which we inferred through the dialogue). The action beat of stamping her foot and screaming doesn’t need to explain why. Well-written dialogue plus behaviors everyone can relate to are enough to convey the emotion. That kind of repetition isn’t wrong per se, but it clutters the text and demonstrates the author’s lack of confidence in their writing.

Narrative Distance
Another reason to focus on showing is that telling instills a greater narrative distance between the reader and the character(s). Plenty of other things affect narrative distance, such as point of view and tense. And again, this isn’t always a bad thing, but for many genres, it’s better to get the audience as close to the action as possible.

Looking at the line I used above again, the reader is somewhat removed from the situation. By explicitly noting that she’s frustrated, the author has inserted a narrator’s observations (even if the narrator isn’t a character and is omniscient). Consider the lines below.

She stamped her foot and screamed. The sheer idiocy was unbelievable!

There’s nothing separating the audience from the events described. You know what she’s doing and what she’s thinking without ever needing to spell out her emotions. The proceeding dialogue (hopefully) clearly showed this frantic woman explaining her situation over and over to an officer who, for whatever reason, wasn’t paying much attention. In a tense scene, you want to keep things moving.

Head Hopping
One of the biggest mistakes writers make from telling instead of showing is called head hopping. It’s most common in third-person limited POVs and happens when the reader is given direct insight into a character’s motivations or thoughts when they shouldn’t be.

Continuing my example, let’s say that we see the line in a book where the detective is the protagonist and his thoughts are the only ones shared with the reader.

She stamped her foot and screamed in frustration at the idiocy surrounding her. Detective Tanner politely averted his eyes, not wanting to make things worse.

While it’s possible that the detective figured out she was frustrated and assigned that emotion to her actions, when the narrator explicitly states it is because of her perception of idiocy, they’ve hopped into the woman’s head. Detective Tanner has no way of knowing for sure where her frustrations lie. The detective isn’t thinking here; the narrator is telling us.

Have Some Faith
While it’s usually best to give your writing (and your audience) a little credit, authors occasionally still want to show and tell. One way to do this is by having the protagonist do the telling.

She stamped her foot and screamed. Detective Tanner politely averted his eyes from the hysterics, not wanting to contribute to her obvious frustration.

Here, we see the action and the detective’s assumptions: that she’s acting out of frustration and it's unwarranted. This neatly avoids hopping into the woman’s head while also giving us some characterization of Detective Tanner. Like all tricks, you don't want to overuse it. No one wants to constantly have the protagonist weighing in like this on every action, but it is effective in moderation.

Editing is an essential part of the writing process, transforming a rough draft into a polished piece ready for readers. But with various types of editing available, it can be confusing for writers to know when to seek professional help. Remember, not every editor offers the same services! Even if they offer everything, you may not want (or be able to afford) every phase.

Here’s a breakdown of the different editing stages—developmental editing, line editing, copyediting, and proofreading—along with guidance on when to hire each service.

Developmental Editing

What It Is:
Developmental editing focuses on the big-picture elements of your manuscript. This includes plot structure, character development, pacing, and overall coherence. A developmental editor helps you shape your story and ensure that your ideas are effectively communicated.

When to Hire:
This is typically the first stage of editing, and it’s best to hire a developmental editor after completing your first draft. If you feel stuck or unsure about the direction of your story, a developmental editor can provide invaluable feedback and guidance.

Key Considerations:
- Feedback on structure: Are your plot points compelling? Are they in an order that makes sense?
- Character arcs: Do your characters evolve? Do their motives and actions align? Do their roles make sense? Do they enhance the overall themes?
- Pacing issues: Does your story drag in places? Does it move too quickly? Should you spend more time on a particular scene?

Line Editing

What It Is:
Line editing hones in on the writing itself. This process focuses on clarity, style, and flow. A line editor examines each sentence, ensuring that your prose is engaging, concise, and consistent. They’ll help you refine your voice and improve readability.

When to Hire:
Once you’ve addressed the developmental feedback and are satisfied with the overall structure and flow of your manuscript, it’s time to consider line editing. Hire a line editor after making major revisions based on developmental suggestions but before polishing your work. You don’t want to spend a ton of time tweaking things that will end up being rewritten during this phase.

Key Considerations:
- Sentence structure: Are your sentences varied and fluid? Are you using the length to convey tension, suspense, and action appropriately?
- Word choice: Is your language precise and evocative? Is there a better way to say something? Are you picking appropriate vocabulary for your target audience?
- Consistency in tone: Does your voice remain steady throughout? Are you catering to the genre’s expected tone?

Copyediting

What It Is:
Copyediting is the process of correcting grammar, punctuation, spelling, and formatting. A copy editor ensures your manuscript adheres to specific style guidelines (like APA, MLA, or Chicago) and checks for consistency in elements like character names and timelines.

When to Hire:
Once your manuscript has gone through developmental and line edits, it’s time for copyediting. Hire a copy editor after your manuscript is nearly final, ensuring that all major content and stylistic decisions are complete.

Key Considerations:
- Grammar and punctuation: Are there any lingering errors?
- Formatting: Does your manuscript adhere to your chosen style guide? [NOTE: This is not formatting bibliographies, appendices, margins, headers, footers, etc. Some copyeditors will also do that, but talk to them first about what their formatting entails beyond a style guide.]
- Consistency: Are character names, places, and timelines consistent throughout?

Proofreading

What It Is:
Proofreading is the final step in the editing process. It involves a meticulous review of your manuscript to catch any remaining typos, errors, or formatting issues. A proofreader ensures your work is polished and ready for publication.

When to Hire:
After copyediting is complete, hire a proofreader just before publication. This is your last chance to catch any mistakes that could detract from the reader's experience.

Key Considerations:
- Final errors: Are there any typographical or grammatical mistakes?
- Formatting issues: Is your layout clean and professional?
- Readability: Does your work flow smoothly as a finished piece?

Conclusion
Understanding the different types of editing and knowing when to seek professional help can make a significant difference in your writing journey. By following this editing hierarchy—developmental editing, line editing, copyediting, and proofreading—you’ll ensure that your manuscript receives the attention it needs at each stage, ultimately leading to a polished and engaging final product. If you don’t want every phase, that’s okay! Hiring a professional for even one stage can really elevate your writing.

For many emerging novelists, the path to publication is a thrilling yet challenging journey. Crafting a novel is a feat in itself, but once the manuscript is complete, the next crucial step is often to enlist the help of a professional editor.

A lot of writers panic when they see how much editing costs. You don't have to! While this can be a significant expense, there's good news: in many cases, hiring an editor can be a tax-deductible business expense.

Here’s a guide on how emerging novelists can navigate this aspect of their taxes and maximize their deductions.

Understanding Tax Deductibility for Writers

Firstly, it’s important to grasp the concept of tax-deductible business expenses. In the realm of self-employed individuals and freelancers, business expenses are costs incurred in the process of generating income. For novelists, these expenses can include a wide array of items such as research materials, marketing costs, and yes—editorial services.

The Basics of Deducting Editorial Costs

Business vs. Hobby: The IRS differentiates between a hobby and a business. To qualify as a business, your writing should be conducted with the intent of making a profit. If you’re actively working towards publication and earning money through your writing, it’s likely considered a business. Editorial costs can only be deducted if your writing is classified as a business rather than a hobby.

Read that again: editorial costs can only be deducted if your writing is classified as a business. This is often the biggest challenge for writers, especially if you've never sold any of your work. That doesn't mean you can't do it, though. Plenty of businesses get started before they've earned a cent.

The IRS looks at, among other things, how much time and effort you're dedicating to your craft to see if it's a business.

Documenting Your Expenses: To claim a deduction, you must keep meticulous records. Save all invoices and receipts from your editor. Make a clear distinction between personal and business expenses in your accounting records. If you’re using a spreadsheet or accounting software, create a specific category for editorial costs.

Filing Your Taxes: When it’s time to file your taxes, editorial expenses are typically reported on Schedule C if you’re a sole proprietor or on the appropriate form if you’re operating through an LLC or other entity. Most people are sole proprietors. You’ll list these costs under "Expenses" as part of your overall business expenses.

Understanding the Types of Editorial Costs: The IRS allows for deductions on various types of editorial services, including developmental editing, copyediting, and proofreading. Ensure that the services you’re claiming are directly related to your writing business and not personal projects.

Practical Steps to Maximize Your Deduction

1. Separate Accounts: Consider setting up a separate bank account and credit card for your writing business. This separation simplifies tracking expenses and ensures that personal and business expenses are not mixed.

2. Detailed Invoicing: Request detailed invoices from your editor that specify the services provided. This helps in justifying the expense as a business cost and provides clarity in case of an audit.

3. Consult a Tax Professional: Tax laws can be complex and vary by location. Consulting with a tax professional who understands the nuances of deductions for writers can help ensure that you’re maximizing your deductions and complying with all relevant regulations.

4. Keep Up with Tax Laws: Tax regulations can change, and new rules might impact how you can deduct editorial costs. Stay informed about tax law changes or consult with a tax professional regularly.

In Summary

For emerging novelists, hiring an editor is not just an investment in the quality of their manuscript but also a potential tax deduction. By understanding the criteria for deductibility, keeping detailed records, and seeking professional advice, writers can make the most of this opportunity. Not only does this reduce the financial burden of editing costs, but it also allows writers to focus more on their craft and less on their tax concerns.

Remember, while the journey to publication is filled with many steps, managing your taxes effectively can make the process a bit smoother and more financially manageable. Happy writing!

Navigating the world of publishing can be daunting for emerging and indie writers, particularly when it comes to finding a professional editor. An editor can elevate your manuscript from a rough draft to a polished gem, but with numerous options available, choosing the right one is crucial. Here’s a rundown of different ways to find professional editors, along with their pros and cons.

Note that this post does not include simply Googling "[genre] editor" because of the massive influx of AI-generated results and scams.

Everyone knows that a book editor is paramount. A good editor can transform a rough manuscript into a polished masterpiece, but a bad one can leave you hanging. I’ve heard some horror stories from authors about editors who took their money and ran. Scammers bring down the entire industry. That’s why it's crucial to know what to look for to ensure you find the right fit for your project.

Here’s a comprehensive guide to help you choose someone who meets your needs.

One of the most crucial yet often overlooked skills is knowing how to give and receive constructive feedback. Theoretically, we all learn it in school. But, a surprising number of people never learn it, which can make any interaction uncomfortable, especially when it comes to authors and their editors.

Receiving With Grace
I get it; no one wants to hear that they’re doing something wrong. An author puts their heart and soul into a manuscript, hands it over to a stranger, and suddenly is faced with a massive amount of corrections. It’s easy to say, ‘thanks,’ and move forward when we’re talking about using a comma versus a semicolon, but hearing that your favorite scene doesn’t make sense is enough to make anyone defensive.

When someone gives you constructive criticism, you have to remember: they’re trying to help you.

It’s time to talk about the elephant in the writer’s room: AI. As an editor, I’ll admit that the growing trend of relying on AI for creative endeavors like writing (and editing) scares the hell out of me. But probably not for the reasons you think.

Okay, sure, there’s a nagging worry about AI driving editing prices down to unsustainable levels or completely taking jobs away from editors. Surprisingly, though, that’s not my biggest fear.

One of the ways that book coaches and developmental editors can help authors is through audience analysis. That means identifying and understanding the target audience, as well as helping the author tailor their writing voice to meet readers’ expectations.

This is a key part of making your writing successful. Trying to get a bunch of die-hard horror fans to read your quirky YA slice-of-life novel is a waste of time and money for everyone. When you know who you’re writing for, you’ll know what they’re focusing on and what they want to read.

So, how does audience analysis work?

When it comes to editing, especially in fiction, every story needs a slightly different approach. This can get downright confusing if you’re doing multiple rounds of editing or working with multiple editors. That’s not as unusual as you might think. You may have an editor make a first pass and then hire a proofreader later on to recheck the text (and save some money).

Anyone who works with a publishing house will likely see their text go through a few different editors, although many authors prefer to have their own editor in addition to the people provided by the publisher. Even if you have a single editor throughout, you may engage someone else as a typesetter or formatter; a style sheet helps them too.