When Revisions End - The After Process

WHEN REVISIONS END

I've had this one on my list for a while, mostly because it was originally planned to be done when I went from mostly revision projects, to starting to go back towards maybe drafting again, and while that plan blew up in my face, it feels like something that should be talked about. At the end of the day, a lot of the time things in the author life operate on a kind of: you'll know what it's time. 

Which, okay, fair, but what if you don't 'know'? Like is there a checklist somewhere I can go through and just have some idea of when this knowing should happen? Will there be like a booming (or even whispering) voice from nowhere telling me this? Like, I would like to know what the 'know' means? And I kinda doubt I'm the only one, so I thought I would give you some of these things I've picked up having written almost 50 first drafts, and published 24 books. And yes, for those wondering, I do still genuinely need to phone a friend to ask if the know has know'd yet, so it might be something other long term writers do know, I am not always one of them!

#1: REVISION IS BORING
I need to add a caveat here because there's a difference between, I know this story so freaking well at this point that I could probably recite it from memory alone, and ugh, this scene/chapter/plot beat are just so boring, when does the good stuff start? The former is the sign, the latter is a whole different sign and not a good one, but I won't get into that here!

If you have spent so long reading, and tweaking, and changing and shaping, and you are able to read through your work so much that it's now just like re-reading a book and it's not something where you're trying to add this or that, it's a sign that maybe you have done all you can, for the moment, and depending on where you are in that journey, it might be time for betas, or CP, or even like an editor. If you can no longer see things that might need fixing and it's just a boring task because of that, that be the know in this case!

#2: YOU NO LONGER PRIORITISE IT
Now, I know that there are a million different reasons that people move away from a project, either for a time, or for good, and those are all valid. I am talking about those who don't have those reasons, the writers who put another project ahead of their current one because they feel like that distance will allow them to come back refreshed and more able to change and strengthen their work. I mean, again, it's not wrong to have that space, and it is very much needed for a whole heap of reasons, but, and I say this to be taken with a grain of salt, sometimes that action isn't about wanting to come back with fresh eyes. Some of it is you knowing you have done all you can for that project, and that is okay, that is that know silently whispering, and also pushing you onto a project that does need your attention more.

#3: THERE'S NO FIRE FOR YOU THERE
This one I feel like is the biggest one for me. I have worked on multiple projects. Like I said, 24 books published more than that drafted, I've been in this situation, and it's not always being completely done, but for me that's usually what it means. I don't spend my rest hours turning over plot beats for that project, I don't get excited about inputting changes and seeing how they look on the page. I don't have any of that, because I've done all I can, and now it's time for a different stage.

So there we go, like I said, even after all these years, it's sometimes hard for me to truly hold onto what that know is and whether I'm hearing it right. At the end of the day, you gotta do what works for you. I wish you all the luck! 

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How I Edit Revisited - The After Process

HOW I EDIT REVISITED

When I first put this piece on my list, it was something I'd come to when I was in the midst of edits. I could have put it off until such time, but I feel like even with me maybe having to adapt and change the way I do edits alongside other projects, I doubt that my editing approach itself will massively change. I might end up needing longer to complete things, but I have spent a lot of time honing down what I want to do when approaching edits, and I'd like to, if possible, continue to do that!

For those who know, skip this paragraph. My issue right now is that follow sepsis in Oct 2025, where I literally almost died, I lost feeling and the majority of use of my right hand and arm (which had, up until then, been my dominant side). I ended up taking eight months off to recover, and also had to buy whole new keyboards and such for work because my old ones would not work with the way my hand is now. That's why editing and such might still change after this, because I obviously did not have any editing to do and won't until December at the earliest. Now back to the rest!

Editing has always been something that stresses me out! My anxiety goes through the roof, my stomach is all flopping over every time I get an email, more so if I know it's from my editor. I do wanna make it clear NONE of the editors I've used ever have caused this reaction, anxiety gonna anxiety basically. In the last three or four years (I forget to be honest) my way of editing has changed because the editor I use has changed, and his approach to editing, to be specific, developmental editing, is quite different to what I've had before. Namely he does both edit letters, and when necessary, chapter notes within them, for each quarter of the book.

The first time I worked with him, I had no clue whatsoever how I was going to make the changes and also not freak out that I was doing it wrong. He'd always been clear that if I had questions or needed clarification, or for him to check over a corrected portion and offer advice, then I was very much free, and encouraged to reach out to him. I did use this a few times, but I think it was on the second book we worked on.

My approach, I decided, was to basically take it like revisions, and sensitivity reader corrections. Go through it several times, and make sure that I've got a line on what I need to be doing. I know, and make sure I keep telling myself this, that the next stage, line edits, my editor there will happily point out plot issues if she comes across them, so there is a second line of defence if I do a seriously terrible job!

This is how I break it all down:

NOVEMBER: Send off manuscript, and as each edit letter comes through, read it carefully, even more than once, to get those ideas brewing, and also allow you to think about what might or might not work. DO NOT make changes. For me starting to make those changes when I get that first edit letter will make it harder for me in the second quarter if the issues needing solving have been made massively worse by the changes I made. I just want to have the whole picture so I can accurately doing things.

DECEMBER: Start making changes. Do it in 2 chapter chunks, it taking however long it takes, and making sure I reference the appropriate letter while doing so. I also make sure to read over both chapters again after I've made those changes just to make sure I'm happy with it. This is what I call my first pass.

JANUARY: Usually done with first pass, so now it's time to do the second and third. I will go through in five chapter chunks, again referencing the relevant edit letter, make changes where needed and just make doubly sure this is what I want. I do this twice, and then at the end, I call myself done for dev edits!

I know that everyone has their own way of doing editing, but this is what works for me, and I've found that it allows me time to sit, to turn over ideas, and to get things done my way. However you approach editing, I hope it goes well for you! 

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Learning How You Edit - The After Process

LEARNING HOW YOU EDIT

I talked last week about learning how you revise (piece found here), and to end off this series, I thought I would talk about learning how you edit. I've been publishing for twenty years now. I've been writing and revising and editing for longer than that, but I've worked with a lot of different editors and they've all had their own kind of system. Some of them worked well for me, others did not at all.

Editing is something that's exceptionally important to publishing, but also personal to each author and editor. Like right now I work with Robert who gives me an edit letter for every quarter of the novel, and from there I go in and make my changes, and work with what I have. I've also worked with editors who did comments and I had to correct each one individually as well as make sure the rest of the book reflected those changes. It's basically up to each editor to decide how they work best, and from there, up to each author to work out what's best for them, and their story.

I have found that editing is the part of the process that is my least favourite. I don't like having to get into the nitty gritty with such a tight deadline. I know it's the nature of the beast, but it's been something that's taken me a long time to work out how I work best, and I thought that I would give you some of my tips so that you don't go into it dreading how you're going to find out your way, and still bring it all together in the end.

#1 LEAVE TIME FOR CORRECTIONS
Like I said, right now I have edit letters and I have to make sure that those corrections are inputted so that I can then send the book off to the next stage, which is line editing, and that's somewhat easier for me. So I make sure that I have more than enough time, with days off built in, to allow myself to read, to edit, to sit with those changes and make sure I've made the right choices for my story. If you can plan for more time than you'll need, do that. Allow yourself the grace of bad days, or difficult chapters and parts of the story that will need more work.

#2 FIND AN EDITOR THAT WORKS IN YOUR WAY
I've had a lot of different editors, but I've also kept two of my team the same since the start. My line editor and proofreader have been with me since the start and both have ways of working that complement my own. Developmental edits have changed often, and it's always good to make sure that you have an editor who works in a way that you find accessible to you and your process. If you're working with someone who might have a different way of working, that's not going to help you in the long run, so work with people who will help, not hinder.

#3 START BIG THEN GO DOWN TO SMALL
I feel like this is obvious, but in case it's not, you need to start with the big things, the ones that will have a knock on effect to the plot. Once you've got them in place, then you can focus on the smaller little things because they'll come together easily when you do it that way. Take you time, don't rush, and just let the things fall into place.

So there we go, those are my tips when it comes to learning how you edit. I feel like a good editor is worth their weight in gold because these are the people who will be sticking with you and helping you bring about the best book you can.

Good luck!

Any questions? Lemme know in the comments! 

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Learning How You Revise - The After Process

LEARNING HOW YOU REVISE

Last week I talked about learning how you write (piece found here), and this week I thought I would delve into another part of the writing process, and one that I am mostly focused on now, and that's revision. First I need to kinda define that because some writers view revision and editing as interchangeable words, and I don't. Revision for me is working through the drafts without outside feedback. Editing is when you get the professionals involved. 

So with that said, how can you learn how you personally revise? I've been doing revision the whole of my writing career because it's something where you have to get into it. I never really enjoyed it, and worried that it was a time suck that didn't make a massive difference. It's only in the last five or six years that I've latched onto a way of doing things that helps me both stay focused, and also brings about a better end product. 

Too often people feel like you write the first draft, you make no changes, send it off to betas, maybe an editor, and you kinda ignore the feedback and then boom, you're done and you can publish. For me, I will put a project in revisions way before it goes to the editor. I do this for many reasons, one being that I know sometimes I overwrite, and I know that there are already going to be inconsistencies and I want to correct those before an editor, or anyone really, reads through it. It's worked for me, I've caught things that would've been horrible to miss, and I've also had ideas to change some of the plot and such throughout the story.

So for me, revision is a necessary part of the process. I've spent the past year or so revising older projects so that I have more time with them. When I first took on that task, I was super anxious about how I was going to find a way of working that actually fitted with the way I worked when drafting. I needn't have worried because I dove into the revisions and found that actually it worked out pretty well, and because of the way I worked, it meant I could add more projects to my work load as needed.

Now I'm not trying to suggest that everyone should be doing multiple projects at once. I'm just talking about the way it works for me. But if you're sitting there and wondering how on earth you work out how you revise, then I have some tips for you.

#1 HAVE A GOAL IN MIND
The thing with revision is it can be never ending. I mean there isn't anyone who's going to tell you exactly how many drafts and such you'll need to do before you're finished. That's going to be up to your own judgement and it can be kinda overwhelming when you don't actually know what you want at the end of it all. So make sure you have some kind of end goal in mind, and when you reach that goal, know that you are done.

#2 DEADLINES CAN WORK
I've never been someone who's good with deadlines. I get anxious, I push myself too hard, and then I end up flailing around and find it just distracts me more than anything. But when it comes to things like the editing cycle, there need to be deadlines in place. Otherwise it just creates a mess for you, your editor, and everyone else involved too. So if you can, set some kind of deadline, it will help you work out what you need to be doing when, and going from there.

#3 DON'T BE AFRAID TO CHANGE THINGS UP
Like with drafting, there can be a lot of ways to revise. I personally do outlines and have goals for each draft. Some people will work on only one chapter at a time and when that's perfect, they'll move onto the next one and so on. If you've found a way that works for one project, but doesn't for another, don't be afraid to change, to pivot, and find a new way of working. Nothing is set in stone here.

So there we go, my tips when it comes to learning how you revise. Take what works, leave what doesn't, and make sure you pay attention to those deadlines.

Good luck!

Any questions? Lemme know in the comments!  

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Balancing Editing & Revision

BALANCING EDITING & REVISION

Last week I talked about all my working projects (found here) and this week I thought that I'd delve into what it's like trying to balance revision and editing. I've managed to do this before, though the editing has always been more stressful for me, but now that I'm not drafting for the time being, it made sense to try and give you some tips of what it's like trying to juggle two, in my opinion, similar parts of the process.

Before I start, I should let you know that for me, I consider revising to be the part of the process you do without professional help, and editing to be the process you do with dev editors and beyond. While that's not a strict definition, it's one that's worked for me. Otherwise you could clearly see that the two are very similar processes and might get confused about which one applies to what. 

When it comes to balancing the two, I go to my tried and true method of keeping them both as separate as possible. Whether that's only doing one on one day and the other on another, or whether that's making sure that my work on revision is done first and only when it's finished and I've cleared my mind of that project, do I approach editing. It sometimes works really well, other times it does not.

I've always been someone who, when working, gets really focused on the project on the docket for the day, and while before I would be drafting and then doing edits, I find it's a harder mind switch when I'm revising and then doing edits because as I said above, they are very similar in their execution. While sometimes I have been able to easily switch to the editing project, other times it's taken me a while to get into the right frame of mind for the editing project.

It helps, somewhat, that usually the projects I'm revising are so different to the tone and plot of the editing project, but there have been times recently when I've been revising the next book in that series, and also editing the book that came before it. Sometimes it's made for a smooth switch because I already know the characters and world well, other times it's led to things where I've struggled for that section of edits.

I think, ultimately, it comes down to what works for you, what helps you get into the right frame of mind, and what will help you effectively work. If you're not someone who can manage to juggle multiple projects, which is fine and completely valid, then this wouldn't apply to you. If you are, and you've also found it hard to switch around when the process is very similar, all I can suggest is that maybe separating what days you work on one part so that you have a cleaner break between the two.

While I've found a way that works for me, it wouldn't work for everyone, and in the beginning, I did need that clean break. I needed to only be working on one type of project a day and there was just no chance of me being able to get into the character's heads and mindset if I'd spent a chunk of time in a different world and character. With practice, comes progress, and you just have to remember to start small, and to take it as you can, even if that means it takes you longer, that's okay. Remember, it takes as long as it takes.

Good luck!

Any questions? Lemme know in the comments! 

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Working With Sensitivity Readers

WORKING WITH SENSITIVITY READERS

With Translucent up for pre-order, and the third book in the series heading off to sensitivity readers soon, I thought that I would talk a little bit about what it's been like working with them. I can only talk mostly about disability because that's where the majority of my experience lies, and I don't wanna be misleading people about the process.

For those who don't know, sensitivity readers are people who have lived experience with a certain minority. Sometimes more than just the one, other times they are more focused on one particular area. For both Invisible and Translucent, I used two, one for a myriad of conditions mentioned, and the other for just one disability mentioned. Both had completely different ways of working and presenting their queries and both were a joy to work with. I will be employing them both again for Visible, which is the third book, and in the process of being revised right now.

So what is it like to work with them? While my experience has, again, mostly been with disability, I have found it to be a very important part of the process. It allows me to learn not just if my rep isn't all that great, but the little details I have no experience with, can add to the story as a whole. Like with Translucent, there were body language details, and other small things that would help strengthen my characters and their experiences. I loved getting their reports not just to see what I had right, but also what didn't work and how to maybe change this and that and be able to get a better character experience from it.

So what should you expect from a sensitivity reader?

#1 COMMENTS ON YOUR REP
This can be inline comments, or even a full breakdown of each chapter along with bits and pieces that need tweaking here and there. It should be something where the changes that are needed are clearly outlined and allow you to move forward with their advice. Obviously you don't have to take their advice, but if you choose not to, and it has a negative impact on the character, the rep, and the story, then people are going to be upset about it, and it will be on your head.

#2 PROFESSIONAL APPROACH
By this I mean, you shouldn't have someone who is aggressively yelling at you for getting something wrong. You should be paying this person, and that is not something I will ever change my mind on, and it is a working relationship so there should be a professional approach on both sides. That means you shouldn't be yelling at them either about how you don't agree with this and that and changing it would ruin the vibe or whatever. I feel like this should go without saying, but if not, there it is.

#3 OPEN COMMUNICATION
I've always been clear when I expect the document and notes back, and because my books are generally long, I give two months for them to work on the project. Sometimes that means that we do check ins after a month, other times I don't hear from them because there's no issues. But the lines of communications should be open both ways. Don't sit there and seethe because they didn't meet a deadline you didn't tell them about. Be clear with what you want, and stick to it. Communication is a big thing.

So there we go, those are three of the big ones. Like I said, Translucent is up for pre-order now, and I'm itching to get Visible ready for the readers. Good luck with your writing, and hope this helps!

Any questions? Lemme know in the comments!

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The Differences Between Editing & Revising

THE DIFFERENCES BETWEEN EDITING AND REVISING

Last week I talked about the differences between drafting and revising (found here), and I thought that this week I would touch on the differences between editing and revising since I've recently done both with dev edits and all my revision projects, and will continue to do that as I move through the year and the next professional edit stage.

Just to be clear, I see revising as the process you as the author go through while rereading and tweaking your story. This is usually without any input from professional editors, but can be based on the feedback of betas, alphas, and sensitivity readers. Editing, for me at least, is the part where you go through and make edits after you've worked with a professional, whether that's developmental, or line, copy, or proof. That's what I personally class as editing, but everyone is different.

I will also only really be able to talk about how the process has worked for me, and just because something has worked for me, or it's a difference for me, it doesn't mean that it's the same for everyone. We all approach theses processes differently and that's completely okay. So with all that said, let's get into it!

#1 THERE'S MORE LEEWAY WITH REVISING
When I approach revision, I'm always aware of the longer deadline. I know that I have to get the book to the editor by a certain date and even then, there's some wiggle room. Because I usually have a long period to get the book into shape, and I have my outline to allow me to do that, it feels like unless it's literally the last read through before the editor, there's more leeway. I can think over plot changes longer. I can do a draft without the changes being made, and I have more time to think about things

On the flip side, with editing, there is, usually, a very firm deadline. As an indie author, I set my own deadlines, to a point, but there are others in there that can't be moved, and sometimes you just have to make the changes and be sure that's the final version because this editing train is moving and it will not stop. So because of that, I feel like when doing my changes, that I have a lot more pressure to get it right the first or second read through, because time is very much running out.

#2 THERE'S MORE GUIDANCE WITH EDITING
I've worked with a number of editors, most of them good, a few of them not, but one clear thing has always been the guidance. If I didn't think something worked, I can, and do, turn to them and ask for clarification. If I feel like I'm close, but not quite there, I can have them read through the changes again and get that feedback. I feel like it's a way of making those changes that might leave you a little unsure, but with the ability to ask someone else who already knows the whole story, and can jump in and let you know if you've strayed a little too far one way or the other.

With revision, you can ask betas, you can get their feedback, but you can't, usually and in my experience, then ask them again if what you've done works. Sure you can bring in new betas, and maybe they will give you that feedback, but it's not quite the same as with editing, where you can check in with the person telling you how to change things and have a whole discussion. It feels a lot more like you're on your own, and you have to make these choices and be sure you like them because there's no one there really to tell you if they work or not. Yes, there are critique partners, but if you don't have those, you're alone with all of this.

#3 BOTH USE A SIMILAR KIND OF PROCESS
With revising, you're looking at the book critically and you're doing the same with editing. While one is more on your own speed, the other is with a professional backing you, and the whole process ends up being one with the same kind of outcome. Changes will be made, and you will craft your story the way you're going to, but while one seems to be a try it and see, the other is more firm in what needs to be done.

Now I say that, and realise that some writers worry about editors changing their story. This is not how a good editor should work. If someone is telling you that you have to this or that, and you, as the author, don't want to do that, it's your choice. Every change is optional, but be wary of clinging too much to what you've already written, ninety percent of the time, those changes are what will make your book so much better.

Any questions? Lemme know in the comments!

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You Can't Do It Wrong: Publishing

YOU CAN'T DO IT WRONG: PUBLISHING

I've been doing pieces about how there is literally no part of the writing and publishing process that you can do wrong. I talked about editing last week (found here) and I'm going to focus on publishing this week. I will just say that I'm more talking about the publishing process, as in whether to go indie or trad, as there's a whole lot involved in publishing that would be way too extensive for me to cover in one of these pieces, so I'm honing in on that part.

For background, I have never been trad published. Early in my writing career I started off with the only option being trad, and I went for it, but it never worked out for me. I was first published in 2005 and then when the advent of indie came in 2011 time, I started being an indie author properly. That said, I do have some idea what it takes to get a trad contract, and I also know that while people look down on indie, there are some indies looking down on trad like only one option is valid.

That is completely false. There are so many reasons for making whichever choice you make. I've found success with indie, and I don't know if I would have with trad. I don't know if books I've published would have died on sub because the story and genre at the time did not meet the marketability, and so I'm happy with indie and feel like I've made the right choice for my works but that's a me thing. It's not an everyone thing.

I've always felt, and believed, that there is an audience for every story. It might not be a huge mainstream audience, but there are always people out there for whom your story will speak to them, and be the thing they crave. Yes it can take time finding them, but that's a problem that happens to both sides of the spectrum. After all, not all trad books receive the same amount of marketing and not all indie authors are able to splash out when it comes to marketing either. It's all about doing what works for you.

While both options are valid, both come with a different kind of list of pros and cons. Like I like having the control of when a book is released. I like being the one who chooses my editor, my cover designer, and while some of that is true with trad as well, at least that you have some input, it's not only your choice. Doesn't make it wrong though, there are authors who find it more stressful to have those kinds of decisions in their hands alone. They flourish when it comes to trad because people are making the hard decisions themselves. And that's valid.

Too much of the time, it gets turned into an us vs them situation and to be honest, I don't like it. I don't like the idea that one is supposed to be for the 'real' authors and the other is not. I don't like that indies sometimes talk about how they're decision to go indie should work for absolutely everyone and it just does not. I know trad authors who much prefer being trad and would never go indie, I know others who have thought about indie but have no idea where to start, because it's a lot of work.

So when it comes to publishing, just remember that YOU CAN'T DO IT WRONG. You find what works for you, and your books and go from there. All forms of publishing are valid and I wish you the best of luck no matter what path you choose to use.

Any questions? Lemme know in the comments!

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You Can't Do It Wrong: Editing

YOU CAN'T DO IT WRONG: EDITING

Last week I talked about how you can't do revision wrong (found here) and this week I thought that I would apply that to editing as well. At the moment I am going through the dev edits stage for my next book and while I've worked with a handful of editors, all of them have had a different process for how they give me their corrections and how I go about making them. None of these are wrong or less valid.

A lot of the time, writing advice, and yes this does apply to editing as well, is tailored to the mainstream, or the most common ways of doing things, and it can lead to the belief that if you don't do it the way all these other writers do it, then you are somehow not a valid writer, or doing it so wrong that everything is going to be ruined and you might as well give up now.

Over my, almost, twenty years of publishing, I have done things a myriad of ways. I've done in line comments. I've done getting the whole document back with comments, I've done making corrections with my editor there to help. I've also done getting edit letters and making those corrections on my own. None of these are wrong ways to do it. Some are more common in indie, some are more common in trad, but they are still not wrong. They are valid ways to go about the editing cycle and you gotta do what works for you.

Too often the emphasis is to emulate a popular writer with the idea that since their book(s) sells, then if you do everything the way they've done it, you'll be an instant success, and writing and creating just doesn't work like that. It never has, and it never will. One great thing about writers, about all creatives, and humans in general, is we all work differently. We all have our own unique way of thinking, of doing things, of solving problems, and of creating. And they are all valid.

I have taken literal years to find a way that works for me with all parts of the writing and publishing process, and even then, I still find new ways to make it work. I will still come across advice that sparks an idea and I sit down and try it, sometimes putting my own spin on it, and find it works, but the same can be true for finding it doesn't. It's all about finding what works best for you personally.

It's all very well and good starting out and looking for advice, I get that, I write these posts every Monday because I know how daunting it is for a newbie to suddenly be handed an edited manuscript and told to fix it, and have no idea where to even begin. When I first started publishing, way back in 2005, I didn't have things like social media for me to garner ideas and advice, I had to learn as I went. I am so happy that there's the ability to pass information onto new writers now because while not every piece of help will actually speak to you, the abundance of it means you're more likely to find a way that does, or at least, end up combining this way and that, and coming up with a brand new way that is just yours.

My point is basically that no matter how you go about it, you can not edit wrong. Lemme say that louder for the people in the back: YOU CAN'T EDIT WRONG.

It's all about finding what works for you and applying it to your own way of working. Good luck!

Any questions? Lemme know in the comments!

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You Can't Do It Wrong: Revision

YOU CAN'T DO IT WRONG: REVISION

A couple of weeks ago, I talked about how you can't draft wrong (piece found here), and this week I thought I would turn to one of the other parts of writing and publishing, and that's revision. Right now I've taken a break from drafting so that I can work on revising and possibly rewriting older projects. The past four or five months have been spent with my going through both projects from start to finish and finding out what needs to be changed, what can be scrapped and what needs to be expanded upon. It's been an eye opener to me as to how I approach revision, and I kinda felt like this piece was also one to write.

See, I always found it hard to both edit and revise. I think it was because I didn't have a set process for it. I always found the editing process hard, and I just much prefer drafting because I kinda know what I'm doing there. But revision is something else entirely. I'll stick to just that rather than editing as well, and probably will talk about that beast next week.

But revision is something that, like drafting, everyone approaches differently. I don't know if it's inherent in how we draft, or whether because the story is told, we're just more able to find a way that works for us when it comes to tightening things up and closing plot holes and the like. My first time revising I struggled to find out what I needed to do and what process I needed to adopt. I'd done self-editing passes, and they seemed to be pretty straight forward, but revision? Nah that was a completely different beast!

So I took advice from this person, read books about it from other writers, and sat down to find my process. I knew that as a mostly pantser, I would probably have a whole lot of threads that were both left dangling or weren't needed any more because they went nowhere and added nothing to the plot. I honestly got caught up in doing things the 'right' way that it kinda overwhelmed me.

There's a lot of ways to do all the things in the creative process, and like I've said before, everyone is different. Everyone has their own way of working, and that's okay. That's normal. That's how it is. But I think the problem comes when people, with large platforms or not, try to give the idea that their way is the only way, and that if you can't or don't work like that, you are wrong, and can't be a writer.

Which, to be frank, is just crap! We all work differently, it's part of the human experience that s really humbling and awesome at the same time. It's normal to do things differently than your peers. It's normal to have a completely different process compared to any other writer. It's okay to approach revision in a way that no one else you know does. That's okay. That's how you work and doing the best for yourself is the right approach. There is little point in twisting yourself into knots trying to work how someone else says is the only right way, when actually it's never going to work for you, because you don't work that way.

We all draft differently. We all write differently. We all revise differently. That's okay. You're not doing it wrong. You're doing it your way, and that's not a bad thing. We all have to find our own way of doing things, and that's okay.

So remember that and remember this: YOU CAN'T REVISE WRONG.

Any questions? Lemme know in the comments!

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5 Ways To Revise/Rewrite

5 WAYS TO REVISE/REWRITE

As you may know, I've been taking time off drafting and working on revising and rewriting older projects. At the moment I have two of those, as well as a project in the last stages of revision before it goes off to the editor. When I penned the last word of my previous drafting projects, I jumped into rewriting and revising without any real way of knowing how much work was going to be involved, and how to even go about doing it.

I'm someone who plans my time extensively. I make sure that I know what I'm going to be doing in the upcoming month, and I make sure I have all my ducks in a row as it were. So faced with going back to projects I last looked at in 2019, it was a little nerve wracking because I didn't really know what state they'd be in. I was aware that they would, probably, need a lot of rewrites, but I wasn't sure if I'd be going about that by outlining and rewriting every chapter, or doing it more as a revision project.

Now that I've had a few months of doing this, I have a better handle on things, and thought that today I would give you five ways to revise or rewrite and save you the stress of not knowing how to do it all.

#1 READ & CHANGE
This is similar to what I do when I first start any revision project. I set it up by doing a full read through and then making any changes as I need to. The issue with this is it can be exceptionally time consuming, and if you don't know ahead of time what, if any, changes need to be made, or even all of the plot beats through the story, you might find yourself correcting things that actually work and help with the later chapters. Now if you're a hardcore plotter, this might not be an issue, and if so, this way might work for you.

#2 APPROACH CHANGES IN BLOCKS
If you have a good idea of the story, either by reading through it completely and making notes, or by just knowing it well enough, then you can set about making those changes in blocks. Like splitting it into acts, or chapters, or scenes, whatever works for you, and then make those changes throughout that block before you move onto the next one. This works for plotters and pantsers, especially if you've already got a good idea about what needs to be changed in each section.

#3 REWRITE FROM THE START
I've never had to do this, but I do know that it works for some writers. They will write their first draft, or zero draft, and then go through and rewrite the whole thing, as in typing it all out, either using the first draft, or from knowing the story, and doing it that way. Whichever works for you is fine. I've thought about doing this, but have never had the reason to actually go about it, and while it might be something I do in the future, for now I've found that my way works better for me.

#4 READ AND OUTLINE
This is what I do. I will read the draft from start to finish, sometimes a few times, and will then sit and make an outline. I take copious notes, I make sure that I have all the plot beats and I make sure I know what needs to happen in each chapter for the story to be more cohesive. If things need rewriting, then I'll note that in the text, and I'll keep going through it until I'm sure I have everything. It's the way that's worked best for me in all my revising and rewriting time.

#5 GO CHAPTER BY CHAPTER
This is similar to approaching the changes in blocks, but in this case you'll do it on a chapter by chapter basis. It's going to be something that works better for those who already know how the story goes, and knows whatever plot issues you might have, along with pacing and the like. That's because you don't want to be getting a chapter perfect, only to find out later that actually you needed to keep this part for the rest of the story to work. It's not something I've ever done, but it could work for those with a better grasp of the full story.

So there we go, those are five ways you can approach revising and rewriting. It's a mammoth task and it will take time. I usually spend months getting my book into good enough shape to go to the editor, but of course I'm coming at it from a stance of being a plantser so it may be different for those who plot from the start. Good luck!

Any questions? Lemme know in the comments!

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Approaching Rewrites - The After Process

APPROACHING REWRITES

I have spent the past two months not drafting. I finished my last two drafting projects for a while at the end of June. I then dove into revision and rewriting two older projects that I knew needed a lot of work. I wanted to be able to spend some time with them without the editor deadline hanging over me. I especially didn't want to get to that point and find that I needed to cut and rewrite the whole project with little time to get it done. So, I decided to do this instead, and I have to say that it's been a real eye opener for me.

One of the projects, a YA urban fantasy/romance, was one that I really thought would be in somewhat okay shape. I knew that when I wrote it, I was pretty on the ball with the idea and what came after it. I knew how I wanted things to play out and I was less worried about the word count being too high because a lot of the story involved fantasy elements that needed a little more explanation. I was also pretty sure that the pacing was about right, with a few tweaks it should hold up.

The other project, a YA thriller, was the one I was extremely worried about. I felt like it was way too long, that I spent chapters here and there going around in circles. I was worried that it would need stripping down to the bone and starting all over again. The word count would almost be cut by a third and the whole thing would just need to be rewritten and restarted, but with a bit more of an outline and idea with how the story would go.

Both of these projects surprised me. The first was in much better shape than I remembered, though there were some things that I'd like to lean into more, and feel like the pacing needs a little bit more work to get things to hit the right way. There are some plot holes, which I've managed to find an answer for, and others that I need to think about a little more before I really call them solved. I adore the characters and think that their romance works really well. The ending was a little lacklustre, but at the same time, I can work with that.

The second project was pretty tight already pacing wise. Those chapters I worried about that would need to be cut were not in as dire shape as I thought. My biggest issue right now is how to cut a third of the word count without rushing through the whole thing and knocking the pacing out. I spotted a couple of plot holes, but overall, it's actually not too bad. I still think it's way too long, and I knew that as an overwriter, I was going to have to work out what I could cut. I assumed I'd be able to lose a few chapters at the start and in the middle, but found that I jumped right to the action so there were none of those to worry about. It's making me wonder just how I'm going to cut it down.

I tell you all this not just because it's interesting to me, but because approaching rewrites can be daunting. If you're anything like me, it's been a while since you read the book, and you can remember bits and pieces, but that doesn't mean you can remember both the good and the bad. I always remember the bad. I did it with THIRD ACHE in revisions too, thinking that there was this whole plot thread that would need to be bulked up. It was already done, I just didn't remember all of that.

Rewrites can be scary, they can be daunting, because you're taking this thing you wrote, and poured all your energy into and basically saying that some, or all, of it is not good enough to remain. It can be disheartening and while I plan to stay doing rewrites and revision for this year and next, it's also hard to focus on the end goal rather than just seeing the mess of the first draft.

That said, I know I can craft these into better stories. I got this, and so do you. We're gonna make them amazing!

Any questions? Lemme know in the comments!

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Uncovering The Story - The After Process

UNCOVERING THE STORY

As someone who has written a lot of first drafts, and someone who's also come back to those first drafts and had to change and rewrite a lot, I thought that today I would talk a little about what goes into discovering the underlying story during revisions and editing. Now I want to be clear that I do not think that you're not already aware of what story you've told. You go into drafting (as either a planner or not) knowing what story you want to tell, but sometimes that is not the only thing that ends up on the page.

For example, I went into writing the first Lights Out book with a completely different story in mind. I don't mean everything was wildly different, but I do mean that it was only going to be a standalone at the start. It wasn't until later, having written about two thirds of it, that I became aware of a deeper story buried underneath, and from that the trilogy was born.

The same can happen when you come back to revise or edit after having had some time away from your project. You're looking at it with fresh eyes and you're realising that there are maybe themes you didn't see before, or there's a subplot that you hadn't realised was there, and you can start to see the broader strokes, and also the tiny ones beneath the surface that might have passed you by while you were drafting.

It took me a long time of being a writer to be able to pick up on those finer points. While I was very aware of the plot, or the subplots and also of what story I was telling, sometimes there would be hints of something more, and then you have to make that conscious decision whether to lean into it more. One of my past editors was very good at letting me know when I'd hit a theme or a subplot that might work for the book overall and how to bring it all to the surface.

Not seeing themes doesn't mean you don't know your own work. Sometimes they are easy to see, sometimes they aren't, and other times, because you wrote the book, those themes won't have the same meaning to you as they might to a reader down the line.

So how do you go about doing it?

#1 SEARCH FOR COMMON THEMES
By this I mean things like tropes that might be subverted, or things like when a character is going through something that broadens their scope. For example in Lights Out, Lock is sure of one thing at the start, but as she grows and changes, as I uncovered more of her story, more of her sense of self, I realised that there was a theme of her standing up for what was right, no matter the consequences to her.

With Jessie, in Cramping Chronicles, there's a lot of talk about how she's not anything more than a teenager with an ability that puts her in the spotlight a lot. She has so many thoughts and feelings about what she's doing and how she does it, that she loses sight almost of all the good she does, because everything is wrapped up in pain for her.

So when it comes to your own story, search for those common themes, whether they be tropes that sound and seem like they're going to go one way, and actually go another, and lean into them. Whether that's making a character's voice stronger, or whether that's making different choices for them, it's completely up to you.

#2 CHARACTERS MATTER
I've been told over the years that my belief that my characters have more control over where my story goes than I do, is silly because they're not real. I agree they're not real, but that doesn't mean they're not shaped into a being and because of that, because of the time you spend writing them, you start to see that they, as a person, as a well formed character, would make completely different choices maybe than the ones you planned for them to make.

For me, I've been very big on making sure my characters are as fully fleshed out as possible. The story is about them. It's about what they're going through and how they react to any given thing. So for me it matters greatly if a character is telling me they wouldn't do this thing, because that means I've done my job well.

So keep in mind how any given character would react, and if you can, let them lead you through the story and out the other side. You might find that you learn something new, and your work can be all the better for it.

So there we go, two tips to get you started. As always, good luck, and if you have any questions, lemme know in the comments!

Follow Joey here on her blog, or on Facebook or Tumblr to be kept up to date with the latest news regarding Joey and her books.   

Knowing How To Approach Editing - The After Process

KNOWING HOW TO APPROACH EDITING

As someone who has edited a number of books, and has worked with a handful of editors, I thought that I would talk to day about how to approach editing. Of course this will all depend on your editor, their style of doing things, and you as a writer, but there are some common themes when it comes to editing that translate from editor to editor.

Personally I've worked with both editors who go through the manuscript with me, leave comments, and then I make changes along with them so that we're both sure that I'm on the right path. I've also worked with editors who give edit letters, some for the whole document at once, others, like my current editor Robert, one every quarter, and I've known of editors who do it for every act of the novel. All of these ways of doing things are valid and it's just about finding that fit, that editor, and that style that work for your own process.

I prefer the edit letters and then getting to go through the document at my own pace and work out what needs to be changed and moved around and what can be tweaked in place. I've worked with editors who do it all chapter by chapter, and I found that a lot more stressful and a lot harder to see the whole book as a whole. Of course the former means there are many read throughs to make sure I catch everything before it moves onto the line editor, and the latter means a lot of rewrites through the editing process and it all takes a lot longer to get through. Both work, and both are a great way to do things, it just comes down to personal preference.

So how do you work out which way works for you? How do you know which one is going to help you best craft the book into shape? And how do you then know how to approach rewrites and editing once you've landed on a style that works for you? Glad to asked because I'm gonna give you some of my tips on doing all of that and more.

#1 FINDING THE WAY THAT WORKS FOR YOU
I started off with an editor who would do corrections as she went, and I would follow along and make my tweaks here and there. It worked for me, at the time, and it wasn't until later on that I started to realise that the whole part of that process meant that by the time the book had gone to line edits, I was burned out on the story. That's one of the reasons I was happy to switch to a different editor and a different style of editing.

But you may not know that, and it might take you a while to get to a point where you do know how you work. While I've always been lucky with editors, finding people who meet my needs and also work well with me and my stories, I know that for a lot of writers, indie I mean because trad generally don't get an option in which editor they work with, it's not a case of one editor/editing team and done. Some will change from book to book, others will be with one editor for one genre and another for a different genre, and that's valid.

So if you find yourself moving through the process and realising that the way your current editor does things doesn't work for you, then it's perfectly fine for you to have a discussion, see about whether there can be any changes made to the situation, or if you need to amicably part ways and find another editor.

#2 SAMPLE EDITS CAN HELP
A lot of the time when you're first looking for an editor, you don't really know how they personally work. You might be able to approach clients they've had, and talk it through with them. Or you might be able to ask for a sample edit. It's literally as the name implies, a chance to have a look at how they make their comments - either as comments on the document or in edit letters etc - and how they work their way through the document.

There is usually no cost for this, and no obligation to book with them should you find that your style and theirs just doesn't match. It's okay to get sample edits and see which one might be the better fit for you. These are industry standard things, most editors will offer some kind of sample, and it's up to you to decide whether or not you want to go further along with it.

If you know ahead of time how you personally work, like you're looking for a new editor having going through the process before, then this makes things easier because you're able to basically upfront ask how they form their edits. But if you don't, then sample edits can be a big help.

#3 APPROACHING REWRITES AND EDITS
I don't want to imply that every book you write will need extensive rewrites, but I will just say that the majority of them will need a lot of work done. It's up to you to define how much a lot of work is. I've never written a book, and it be perfect. I don't think anyone ever has. There's the want to believe that because this book is your baby, that there are no flaws, but the point of the professional edit is that you can't see those flaws.

Right now, I'm in the middle of edits and rewrites for a book coming out later this year. I went into extensive revisions and while I like to think the story was as solid as it could be going into edits, there were, there always are, things that I'd not caught. The point is that you are too close to the story to pick up on those little bits. Like one thing my dev editor dinged me on was a turn of phrase I've used a little too much.

But approaching rewrites and edits is a very personal thing, it's about how you work as a writer. I usually tackle the first round of edits on a two chapters as a time basis. I have my edit letter up on one side of the screen and my document on the other, and I spend as long as I need to getting those chapters to where they need to be, and then I move onto the next two.

After I've done a full edit pass, I will then go through and reread five chapters at a time. That way I know that anything I might have missed on that first pass will be caught, and when that's done? I do it again. Just to be doubly sure. Now that might not work for you, but I always found that tackling it in small bites made things a whole lot easier for me.

You gotta do what works for you, and that's valid.

So yeah, editing is a beast and it goes from finding someone who works for you, and then tackling the rewrites as well. It's a long drawn out process and it's something that I always find draining, but when you do find an editor who is good with your personal style, they are gold dust and you should hang onto them for as long as you can.

Any questions? Lemme know in the comments!

Follow Joey here on her blog, or on Facebook or Tumblr to be kept up to date with the latest news regarding Joey and her books.  

Approaching ARC Readers

APPROACHING ARC READERS

As someone who has published 21 books, with the 22nd one coming out much later this year, I thought that I would talk to you today about ARC readers. I know that it might be pretty common knowledge what they are and what they mean, but in case you don't know, ARC stands for Advanced Review Copy and is basically an earlier version of your book that goes out just before release allowing for you to have reviews, hopefully, come release day.

I've been doing ARCs for about ten years now and while I don't have a massive team, and therefore might not have the best advice when it comes to approaching people, I wanted to delve into things that have worked for me. I do have a small team of readers who have pretty much told me that they'll read anything I publish, and I have had some luck in keeping them through differing genres and the like.

#1 KNOW YOUR AUDIENCE
This feels like the best and biggest tip that anyone can give you. If you're looking for ARC readers, then you want to make sure that you attract the people who actually read your genre and category. There is zero point in pitching a YA book to people who only ever read adult, who only ever read fantasy when you've got a crime/mystery. The point of ARC readers is to have people who would normally read your genre and category and would happily recommend it to others like them.

So step one has to be knowing that audience. Part of knowing them is finding out where they would normally hang out. Facebook? Twitter? Instagram? You get the point. If you're looking for YA it's probably on the last, if it's more adult romance, then it'll be the first. While Facebook groups are a great way of bringing like minded people together, you don't have to only use them. Know your audience, know where to find them, and attract people who will want to read your book.

#2 BE PREPARED FOR SOME TO FALL OFF
The big thing that I don't think many people talk about is that even if you have 15 ARC readers, that doesn't lead to 15 reviews on release day or thereabouts. There are always going to be some people who either don't read in time, or just don't like the book, or just don't read full stop. It sucks, but it's part of it. I don't think I've ever had a situation where every one of my ARC readers has read, reviewed, and the like for any book.

This is why it's better to have a larger group so that if some don't follow through, you're not stuck with either zero reviews or low reviews. Of course I know that when you're first starting out, or even when you're a smaller fish, it's hard to attract a lot of people. I don't always manage it either and sometimes that means that a book I've worked really hard on, just doesn't get the reviews which reflects badly on it. It sucks, not going to tell you otherwise, but it's good to know these things in advance.

#3 FOLLOW UP ONLY ON RELEASE DAY
This is something I see a lot of authors doing, and that's pinging every week before release day with all the links and the like. In my experience, both as an author and as an ARC reader, this can feel a bit excessive and be more than just a reminder or a nudge, but an annoyance. Now, for some readers, I know that kind of thing will be welcome so consider that too, but me personally? I don't like it. I will send out an email just before release day and then to anyone who hasn't reviewed the week after and if I don't hear back, I figure it's not going to happen.

You're the only one who can make that personal choice of when and how often to follow up. I know some people just don't bother and that works for them, and that's great. But for me, it's only every on the day itself or the week after.

So those are my thoughts on approaching ARC readers. They're a necessary part of writing, releasing and publishing and they can be both a massive success or something that just doesn't work out. I wish you all the luck with it!

Any questions? Lemme know in the comments! 

Follow Joey here on her blog, or on Facebook or Tumblr to be kept up to date with the latest news regarding Joey and her books. 

Publishing Checklist - The After Process

PUBLISHING CHECKLIST

As we approach the release of Invisible (pre-order here) I thought that it would be a good idea for me to run through what I use as a publishing checklist. There are so many different tasks that need to get done when it comes to publishing, and sometimes it's extremely easy to forget something and only remember it at the last moment which then leads to more stress and anxiety during a time when both are in abundance.

For those wondering, Invisible will be my 21st release, so I've done this a few times before! I also only write young adult, though I do so over a variety of genres, and while there will be some things here that might only matter with YA books, there are others that won't be on it for certain genres and the like because I just don't have the experience with them.

STEP ONE: PROFESSIONAL EDIT DONE
This seems like a no-brainer, but you'd be amazed by the amount of people who think that you can lightly, or heavily, edit your own work yourself and then it's all done. That's not how it works. You need a professional edit. It's costly yes, it takes time, yes, but you will thank yourself later down the line for doing it right.

STEP TWO: COVER DESIGNED (& REVEALED)
Now if you're just starting out and don't have much of a following, you might choose to not do a cover reveal, which is perfectly fine. But I do do them, so that's why it's included here. You also want to make sure that you have a professional cover. If you can do that yourself because you have the skills to pull it off, so be it. But if you can't, then hire someone. Again, it can be costly, but it is very much worth it.

STEP THREE: PROMOTION STARTED [COVER REVEAL, PRE-ORDER ANNOUNCED, SOCIAL MEDIA POSTS, ETC]
I'm of the belief that you can never start doing this too early. I've been talking about Invisible for a very long time, months before I started the lead up to release. Now obviously, at some point, it kicks into high gear like it has for me now because the cover reveal and pre-order have been announced. I'm making sure to not overwhelm my audience but also let them know it's around and it's coming and all of that. How you go about doing this, is completely up to you and depends on your genre, your target audience and a whole bunch of other things.

STEP FOUR: FILES UPLOADED
Now I can only talk about indie because I've never done the trad pub route. If you are indie, you'll know that you can do an assest-less pre-order on most of the sites. Amazon and others will allow you to add your manuscript at a later date, and that is great because it means you can have your pre-order up before you finish the professional edit. The problem comes when you don't remember to actually upload it, or upload the wrong one. Amazon has a three day window before release when you can't make any changes, and if you've not uploaded something, they'll cancel it and ding you, and if you've uploaded the wrong one, your readers are in for a not nice surprise and you have a mess on your hands.

STEP FIVE: ARCS & OTHER LAST MINUTE THINGS
I always try to give my ARC readers at least a month to read through the book. Some authors do it differently, but for me that's always worked. It also allows for a longer ARC period and that can give you more of a chance to get readers interested. Obviously there are always going to be some who just don't follow through, and that's normal, but if you're happy to, nudge them around release day.

And that's it, that's my publishing checklist with a few bits and pieces that go along the way. I'll also make sure the paperback is up before release for two reasons. One I don't use Ingram and therefore can't do a paperback pre-order, and two, it allows ARC readers to leave their reviews before release day. Another reason is just that I can't make the paperback cover and interior until after I'm completely done with edits, and those usually occur closer to release day. It's just my way of doing things, and it might, and probably is, different for others!

Any questions? Lemme know in the comments!

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Knowing How Often To Publish - The After Process

KNOWING HOW OFTEN TO PUBLISH

This is a topic that has been on my to-do list when it comes to writing pieces that I've kept putting off for the simple reason that I don't think it's as cut and dried as people might like to think. After all, it should be a case of you publish whenever you have a book that's ready, right? Yes, a resounding yes, but there are other factors that come into play. Some of them apply across the board, some of them are a more nuanced thing and I guess part of me writing this is me trying to ascertain which ones apply to me, and to the writing community as a whole.

For backstory, I'm 41, and will be publishing my 21st book this year (pre-order it here) I have drafted, as in finished the first draft, almost 50 books. So I have a massive backlog, and for some writers this wouldn't be the case in that if they have a finished draft, they will go through the publishing process and get every single one of them up and ready to buy ASAP. I both can't, and don't want, to do that. A lot of things come into play for my decision, I'm disabled and I struggle with deadlines as much as the next person. Editing a book takes a long time and a lot out of me. I don't have the funds to pay for editing another 20-odd books, and even if they were to instantly sell and become massive things, I just don't want to spend what little time and energy I have on that process.

It sounds like what I'm saying is that I don't want to publish them, which just isn't the case. I do, but in my own time. For a lot of authors, their own time is doing it when the book is finished, but for others, like me, it's a case of taking time to revise and edit, and do it right the first time around. Now before someone comes for me in the comments, that is not me saying that those who publish a lot and fast don't take their time, it's just me saying that every one has a different twenty-four hours, and that's completely okay.

So how do you decide how often to publish? How do you navigate that minefield, because it certainly feels like that at times, and hit the right mark when it comes to your own works? How do you know whether something like rapid release is good for you, for your readers, for your genre and so on? I can't answer all of those completely, but I can give you some insight in to how I personally made, and will continue to make, those choices.

#1 WHAT WORKS FOR YOU
This, I feel, is the most important one. If you're someone who knows you can keep up with both drafting, and editing and all of that, then obviously your choice is going to be different compared to me, who just can't do all of that. Rapid release is a viable marketing and publishing tool, and if you know that you can keep up, and it's something that fits your personal genre and age category, then it might be something you choose to do. As far as I can remember, rapid release is defined as more than four books a year. I'm not even close to that bar one year when I did three, and I really struggled with it, and wouldn't do it again, so I'm not the best person to ask about it.

But if, like me, you find that publishing one or two books a year is more than enough for you, that's completely okay too. Some people find a happy medium between the two, where they'll do more one year and less the next. It's more about working out what's going to fit your goals, and your work load, and you commitments. After all, I can write fast, but I don't edit and the like fast, so I know that me trying to churn out a massive amount of my backlog is only going to stress me out and lead to burnout which no one wants.

#2 WHAT WORKS FOR YOUR GENRE/CATEGORY
This is a big one, because I know that there are some genres in young adult that do better with shorter times between releases. I know that if you have a series, it's a good idea to try and release them pretty close together. It was for that reason that I did the three books in a year, to end out a long series, and start a new one. I then did two books for a time, before dropping back down to the one. Now there are ways around not wanting to overload yourself, there are authors who will write, edit and all of that, taking as much time as they need, before they then do a burst of releases of the finished books and series, and then drop off to write and repeat the cycle, so all is not lost if you, like me, can't pump them out fast enough.

Of course, this again is not an absolute. If you don't want to do that, or you feel like even though your genre can sometimes call for it, you just don't have the money or the time, or whatever reason, then you don't have to. I know that adult romance is a big one for more releases a year, but at the same time, there are, and will continue to be, successful authors who don't release a lot of books every year, some don't even release every year full stop, and that is very much a valid way of doing things.

At the end of the day, no one can make these choices for you. I didn't use to be someone who'd put a book on pre-order before I was done with edits and the like. It was something that would stress me out, but as my readership grew, and the publishing landscaped changed, I realised I was losing a lot of potential readers that way. How you choose to approach publishing, from the path you choose, to how many books you publish in any given time, is very personal. It's not something that anyone else can do for you, so remember that and keep moving forward at your own pace. There will always be readers waiting for your story.

Any questions? Lemme know in the comments!

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Handling A Bad Review - The After Process

HANDLING A BAD REVIEW

I remember the first time I ever got a bad review. It was way back at the start of my career, and it devastated me. Part of me wanted to reach out to the reader in question and explain a few things, but one thing I was told repeatedly when I was first starting out was that you never ever engage with reviewers. The reviews aren't there to make you feel good, they're there for other readers. It is not a space to get into as an author, but as a reader.

That said, I understand the urge. I understand the nerves and anxiety and the dropping in the pit of your stomach that someone out there didn't like your work. It was something they didn't enjoy to the point of wanting to warn other readers not to buy it. In my case, it was a stylistic choice that the reader didn't like. They felt that I'd overused some things, but at the same time, editors and the like agreed that it was the way of telling the story.

I know that a lot of the time, authors are warned not to read their reviews, and personally I think it's something that only you as the author, knowing yourself best, can decide. If you're someone who's going to ignore the above advice and engage with the reader, or publicly shame them, or rant about it on Twitter, then yeah I don't think you can read your reviews. It's better, if you actually want to know what readers are saying, to let someone you trust pick and choose the ones for you to read.

Those things I just mentioned about engaging and ranting publicly? Those are warning signs that you can't handle what a reader might say. It's one thing to rant privately to friends, hell I've done it. But posting said review on your social media makes you look very bad if it's followed with a rant about how the reader is wrong. Over my time as an author, I've seen people handle it very badly, and it always, always blows up in their faces.

Reviews are very much for the readers. They're not something that authors have to read, and while I understand wanting to - I always read my reviews - you don't have to. If you want to throw a pity party with close friends, that's completely valid and okay. Just don't throw said party on social media for all the world to see. It leaves a bad taste in people's mouths, and it does get noticed by other readers in that space, and you do not want that.

So how is the best way to handle it? If you're someone who wants to read reviews and is aware that not everyone will love and adore your work, then the best way is to simple take what's been said, and privately reflect on it. That first bad review I mentioned? I talked about it with my best friend, we dissected what had been said, and then I moved on. Do reviews still make me anxious? Occasionally, especially when they're a low star, but I still read them because I personally know I can handle that, and if I can't, I have friends I can go to who will help me work through what's been said.

I know some authors don't think there's any point in reading the criticism, because, after all, not much you can do about that book now. Truth is, for me, it's not about that particular book, because it's published and there will be no changes to it. Instead it's about spotting mistakes that I might have made in the execution of that book, and making sure that they don't end up following me through future works. For me it's about taking those words of critique and learning to grow as a writer with them.

Now yes, I know that some bad reviews aren't going to help with that. Some bad reviews are people either not giving critique but just hating the book, and for those I just remember that you can't please everyone, and they were obviously not the target audience for that book, and that's okay. It's something that does help me in working out how to market and the like.

So when the first bad review comes, be ready to absorb the blow. Feel what you feel, but don't reach out to the reader, don't post about it publicly and rant and rave. Just take it for what it is, and move on with your day. I know it hurts, I know it's hard, but there is nothing you can do about it.

Any questions? Lemme know in the comments!

Follow Joey here on her blog, or on Facebook or Tumblr to be kept up to date with the latest news regarding Joey and her books.