While reading Sol Stein’s Stein on Writing, I was struck by how useful it remains, even decades after publication. One of the most practical sections covers self-editing—specifically how to cut unnecessary adjectives, adverbs, sentences, and “one-plus-ones” to produce a sharper, more engaging draft. Here’s my breakdown of Stein’s top editing tips, along with some reflections from my own writing and editing experience.

Titles can make or break a book. In Stein on Writing, Sol Stein reveals strategies for creating powerful, resonant titles—along with cautionary tales and amusing anecdotes from Hemingway, Faulkner, and others—that can help writers struggling to name their work.

Point of view shapes every aspect of a story—but which one is right for your book? In this post, I share takeaways from Sol Stein’s Stein on Writing and my own editorial experience to help you understand the strengths and challenges of different POVs, from first person to omniscient, and make confident choices for your novel.

Matt Bird’s The Secrets of Story is packed with insights, and I found his advice on dialogue especially powerful. Here are four tips—on metaphor families, natural speech patterns, default argument tactics, and trimming introductory words—that can make your characters’ voices more distinct and engaging.

I’ve been devouring craft books lately, and Matt Bird’s The Secrets of Story surprised me with insights I hadn’t seen before. From loving your characters—even the difficult ones—to giving them something real to do in a scene, Bird’s advice is both practical and profound. Here are six tips that stood out (plus a couple of aspects I wasn’t so sure about).

Authors often wonder, What does an editor really do? And what about a book coach—how is that different? In truth, my days blend both roles. As an editor, I provide detailed feedback and help authors shape their manuscripts; as a book coach, I walk alongside authors in real time as they revise. Here’s a peek into one day in my life.

I created coached manuscript evaluations as a collaborative, budget-friendly alternative to a full developmental edit. This service combines editorial feedback with real-time coaching, giving you clear direction, personalized support, and the confidence to revise your manuscript successfully. But what exactly is a coached manuscript evaluation, and how does it differ from my other services?

When you’re building your craft library as a fiction writer, it’s easy to get overwhelmed. Should you start with a structural beat-sheet book like Save the Cat!? Should you dive into psychology and theme with Story Genius or Into the Woods? Or maybe get them all? But then when do you have time to read them?

Recently, I finished Will Storr’s The Science of Storytelling, and while I wouldn’t call it an absolute must-read, I did find it a valuable addition to my shelf—especially because of the appendix, “The Sacred Flaw Approach,” which I think is worth the price of the book.

If you’re just getting started with writing fiction, you’ll have noticed the mountains of craft books out there. Some dig deep into character, some analyze the psychology of storytelling, and some give you step-by-step roadmaps for structuring a book. One of the most widely recommended in that last category is Jessica Brody’s Save the Cat! Writes a Novel.

I recently reread it, and it got me thinking about how—and when—this book can be most useful.

What makes a villain interesting? Does an antagonist have to be villainous? And why do so many writers struggle with creating three-dimensional “bad guys”?

In my next few posts, I’ll be exploring villains and antagonists: How bad should they be? What are some tips for making them satisfying? And how can your antagonist’s motivation and backstory enhance the themes and messages of your novel?

First, let’s take a step back and look at why we write antagonists the way we do, and what it means.

Craft books can be overwhelming, and sometimes they can do harm to one’s manuscript or creative process. For instance, reading a heavy theoretical book when your idea is young can kill that delicate sprout, and many authors have gone wrong by trying to fit their book to a rigidly prescriptive beat sheet (often Save the Cat!). So it’s important to expose yourself to the right books at the right time. But which ones should you read, and when?

Writing is a monumental task, and marketing is even harder. And that holds true whether you’re seeking traditional publication or are self-publishing. But marketing doesn’t have to be scary. And that’s why I was so keen to interview the fabulous Sophie St. Germain for my second Indie Success Interview: I’ve been blown away not only by the compulsive readability of her books but by how successfully she’s brought them together with readers who love them.

Over the past months, I’ve been doing an increasing amount of book coaching with an increasing number of clients. In fact, many of the clients who initially reach out to me for another service, such as developmental editing or manuscript evaluation, end up choosing book coaching in the end. In the age of artificial intelligence, I suspect many of us increasingly understand the value of direct human connection.

But one of the difficulties of forming a book coaching relationship is that clients often don’t know what book coaching is. And that’s no surprise: It’s a lot of different things!

One crucial but often ignored truth about being a writer? Getting your first book published is just the beginning of your journey. There’s no “happily ever after” when you sign the publisher’s contract, press the Publish button on KDP, or open that first box of books with your name on all the front covers. These are moments to celebrate: most writers never get this far. And yet authors are often blindsided when they discover the challenges waiting for them on the other side of the finish line. One of the culprits? Bad reviews.

As an editor, not every book you work on is right up your alley—and that’s fine. Some of the most rewarding projects I’ve tackled involve books I would never have read if a publisher hadn’t assigned them to me. There’s something special about an editing project that starts off as a chore but ends as a delight.

And then there are projects you love instantly. D.P. Clarence’s The Paper Boys was one of mine.

What makes an author successful? Is it money? Fame? Quality of the work? Something else? And how do successful authors achieve it?

So you’re a copyeditor looking for work from a publisher or packager, and they ask you to take a copyediting test. You’re probably nervous, especially if you’re new to the game or haven’t taken an editing test in a while. If you’re looking for some specific tips for approaching the test, you’ve come to the right place!

Are you a copyeditor seeking to work with publishers or packagers? You may be asked to take an editing test, even if you’re an experienced editor. And if you’re accustomed to working directly with authors, or if you’re a newer editor or haven’t sought a new client for a while, you may be worried about what approach is expected and what the test grader is looking for. Let me help you out by sharing my insights as a test grader.

You’ve probably seen people say it: with all the new AI tools available, a human copyeditor has become an unnecessary luxury. Copyediting focuses on grammar and spelling, and AI tools have become good enough to catch and correct these errors. Right?

Well, I don’t think so—as this blog post’s headline probably made abundantly clear. But why?

Are you wondering whether it’s okay to hire the same editor for multiple types of editing? Conflicting information abounds, leaving many aspiring authors confused and worried about wasting their hard-earned cash. So what’s the deal, and why might you have heard conflicting advice?