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One of my favorite activities when life feels a little heavy is to curl up with a cozy blanket and a sweet romance novel. There is something about being transported to a world of happily-ever-afters that is nourishing for the soul.

So, if you’re a romance author, thank you! You are doing more than writing a story. You are sharing hope, laughter, and rest as your readers escape into the beautiful world you’ve created.

For romance authors aiming to create memorable, page-turning novels, it is important to focus on the essential components of the genre—components that are guaranteed to please your readers and keep them coming back for more.

So, how do you ensure these crucial pieces are included in your story? Grab a cup of coffee and a cozy chair, and let’s get started!

Are You Writing a Romance?
This may seem like a strange question, but if you want to find success in the romance genre, it is important to understand that romance readers have very specific expectations. They know what they like.

So, before you market your new book as a romance novel, consider the following:

• Romance must be at the heart of the story. A true romance story revolves around the growing connection between two people. Each chapter should be contributing to their union.
• The central theme (love is worth fighting for, worth making sacrifices for, or can overcome obstacles) must relate to the romantic development between the hero and heroine.
• The struggle introduced should be authentic, significant, and shared between the romantic leads, even if it is only written from one POV. The barriers, whether internal (fears, past wounds) or external (societal pressures, family expectations), are what keep the characters apart and drive the plot. The conflict should be organic and not easily resolved.
• Your characters must be compelling, likable, and three-dimensional. They should be attractive in personality and spirit (or, at the very least, have some redeemable characteristics the reader can root for). Readers should see and feel their flaws, strengths, and vulnerabilities. And readers must be rooting for them to come together. If readers don’t like a character or feel they don’t deserve the other person, you have an issue with your plot.
• There should be emotional tension. This is the heart of a good romance novel. Their chemistry, banter, and moments of vulnerability all serve to increase the tension.
• The story must feel authentic. While romance readers, like me, dive into a good romance for the escape it offers, they must also believe that the story offers a component of realism. The plot should be logical, credible, and emotionally convincing.
• There must be a sense that these characters are uniquely suited for each other. Every good romance has a magical component to the relationship. It gives readers the sense of “meant to be.”
• Your characters should grow in realistic arcs, challenged by the romantic journey. Internal arcs often intertwine with external conflicts making the romance meaningful.

Conclusion: Writing a Satisfying Romance Novel
Incorporating these components into your romance novel will help you craft a story that resonates with readers and stands out in a crowded field.

​Write characters your readers can fall in love with, conflicts that are believable and powerful, and emotional journeys that culminate in a hope-filled happily-ever-after.

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​Point of View (POV) is a critical choice in any book. Get the POV right, and you create an engaging story with characters your readers can relate to and connect with. Get it wrong and you will lose your readers before they get to page two.

So, whether you are choosing first person or third for a specific scene, how do you know which POV option is best for your book?

While there isn’t a one-size-fits-all answer to that question, there are some important considerations that can help guide you to the right decision for your story.

Grab a coffee and a comfy seat, and let’s get started.

Genre Matters
First, knowing your genre is essential to choosing your POV. Readers have certain expectations in the books they read, and while established authors can make choices outside the realm of genre expectations and get away with it, new authors cannot. Choosing a nontraditional POV can jar the reader out of the story, resulting in a poor reading experience and possibly even a poor review.

Using a traditional POV is going to help you connect more easily with your readers and give avid genre readers a reason to return to your books in the future. Even authors with a few books under their belt are better off adhering to their readers’ expectations.

For instance, romance and YA fantasy are typically third-person deep POV, while memoirs are often first person. Children’s fantasies are often third-person limited. Knowing your genre and your readers’ expectations is a great first step in choosing the best POV for your story.

When in doubt, new authors should pick limited third-person POV. It is generally the easiest POV to master. And mastering your POV is the next critical step.

Master Your Book’s POV
One of the biggest challenges for new authors is mastering POV for their book. Nothing pulls readers out of a story faster than trying to figure out whose perspective they are hearing the story from. Even readers who don’t understand the nuances of POV instinctively know something doesn’t make sense. Or they may even be downright confused.

Head Hopping
I completed a beta read for a new author, and the majority of my feedback revolved around POV. I was constantly rereading and scrolling back to the beginning of the chapter to get my bearings and figure out who was talking. Changing POVs in the same scene is called head-hopping. It was terribly distracting and made an otherwise interesting story impossible to read.

Don’t do that to your readers. Once you have settled on the POV that is best for your book, master the ins and outs of that POV.

If you choose third-person limited or first person, recognize and respect the limitations of that perspective. If the reader is seeing the story through Tommy’s perspective, you can’t tell them what Sarah is feeling or thinking. Tommy wouldn’t know that, so the reader can’t know it either.

If you are writing in dual perspective, keep POV changes to chapter breaks (or at the very least distinct scene breaks) for clarity.

Maintain Voice
Another aspect of mastering POV, particularly in one with dual or multiple POVs, is mastering the character’s voice. If you are writing in first person or deep third, the reader should be able to hear the difference in each character's thoughts and words.

By the same token, if you are writing in third-person omniscient, the voice of the narrator won’t change regardless of whose perspective you are showing the reader.

Know Your Story
Another crucial aspect of choosing the right POV for your story is knowing your story. Readers want to experience the story from the perspective of the character who is immersed in the action. When choosing which character’s POV to use, ask yourself:

• Is this the right POV for the scene?
• Is the POV necessary to the storyline?
• Does the POV help the story?
• Is it used well? (It requires mastering multiple POVs.)

If Jeff is engaged in an epic battle of good and evil at the climax of your story, readers want to experience that battle through Jeff’s perspective. Don’t give them a sideline seat when they can experience the action firsthand.

With each scene you script, stop and evaluate whether you have chosen the right perspective for that scene.

Go Deeper with POV
Finally, as you evaluate which perspective you will use in each scene, determine whether you can go deeper. Third-person deep POV has become increasingly popular for a reason. It’s intimate. It’s exciting. It builds a deep connection between readers and characters.

Are there areas of the story where you can go deeper by removing feeling words, emotion words, or weasel words? Ask: What does excited look like? What does feeling cold look like?

• Review feeling words (saw, watched, looked, felt, heard, sounded, tasted, smelled).
• Review emotion words (happy, sad, excited, mad).
• Review weasel words (wondered, thought, knew, seemed, appeared, was).

Would your story benefit from going deeper? Both first-person and third-person deep POVs provide a close, intimate connection with characters, building emotion, tension, and excitement.

For a better understanding of POV, consider one or both of the following books by Marcy Kennedy.

• Point of View (Busy Writer’s Guide Book 8)
• Deep Point of View (Busy Writer’s Guide Book 9)

​Choosing and mastering point of view is a wonderful way to polish your stories and take readers on a breathtaking journey they will be delighted to be a part of.

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​Dialogue is more than just characters talking. It’s the lifeblood of good storytelling. It brings characters to life, drives the plot, and builds a connection between the readers and your characters.

But it is possible to miss the mark. To bore your readers or pull readers out of the story. You want dialogue that is realistic, but not too realistic. And you want dialogue that is authentic to the characters.

So, how do you write compelling and effective dialogue that advances the plot, creates tension, and enhances the story? Let’s take a look at some common errors and how you can fix them.

Understanding the Purpose of Dialogue
Before you can write compelling dialogue packed with emotion, you need to understand what dialogue can help you achieve.

Dialogue Reveals Your Characters
Each character has their own unique tone and voice. They use favorite phrases and rhythms that reflect their background, education, and worldview.

One character may use metaphors while another is blunt and to the point. That should be conveyed in their thoughts and in their dialogue.

Dialogue also reveals the characters’ personalities, their faith or lack thereof, and their true motives.

When you structure dialogue to your characters, you build connections with readers. They begin to see the quirks and depth of each character. They see aspects of each character they can relate to or resonate with.

Dialogue Advances Your Plot Authentically
No one wants to wade through pages and pages of backstory or boring narrative. It pulls readers out of the story and distances them from the action.

Dialogue is the tool to advance the plot of your story more organically and provide readers with necessary information while building tension and emotion. (As a word of caution, you want to avoid dialogue dumps. Aim for one line of dialogue followed by 2–3 lines of description.)

Dialogue can also help develop consistent pacing.

When characters speak in short, sharp sentences, the readers feel the tension. When characters speak in long, poetic sentences, readers feel the pace slow. And that may provide just the break they need after a ramped-up action scene.

Dialogue Establishes Tone, Tension, and Humor
Dialogue is a fantastic way to work the quirks and humor from each of your characters into the story. It allows readers to feel the emotion the character is feeling. It builds tension and anticipation. It brings laughter and entertainment.

Use Dialogue Authentically
People rarely speak in perfect sentences. We use contractions. We trail off. We interrupt. We pause, stammer, and contradict ourselves. We speak in accents and dialects unique to our country or region.

Your dialogue should include each of these elements when they are authentic to your characters’ personalities, backgrounds, and education. (When writing a character’s accent, give enough to help your reader hear the accent, but then use it sparingly for readability.)

But keep in mind, there is a fine line between natural and awkward. You want to write authentic dialogue, not boring conversation.

So what’s the difference?

Boring conversation would include mundane events, schedules, and topics that do nothing to advance the plot of the story. No one wants to read that. Avoid it at all costs.

You also want to cut unnecessary and inauthentic words. We rarely use words such as so, well, or yeah when beginning a sentence. You can also cut names, small talk, greetings, farewells, and introductions.

Finally, we don’t talk about things with someone else that we both already know. While it can be tempting to reveal backstory through dialogue, it loses its authenticity when a character talks about details for the benefit of the reader. Keep it abbreviated to keep it authentic.

• Instead of: “Bob, remember when we went swimming during your birthday weekend celebration, and that girl thought you were looking at her, and she called her boyfriend over to talk to you?”
• Try: “Dude, remember when that guy threatened you at the hotel pool?”

Use Dialogue to Show Emotion
Dialogue is a great tool for pulling the reader in more closely and showing them what the characters feel. By combining action beats with dialogue, you can convey anger, grief, excitement or fear with greater intensity.

Pauses, interruptions, and actions all ramp up the tension or anticipation of the scene.

• Instead of: “I can’t believe you would do that,” she said.
• Try: She slapped him across the face. “How dare you.”

Technical Aspects of Dialogue
One final thought to consider when writing great dialogue is the technical aspects of your dialogue. After putting in the hard work to create compelling, entertaining dialogue, you want to ensure your readers understand what you’ve written.

Formatting, punctuation, action beats, and dialogue tags all work to bring clarity and readability to your writing.

Punctuation:

• Ensure you are using the correct quotation marks (smart quotes instead of straight).
• Ensure you have the appropriate ending punctuation.
• Use em dashes for abrupt interruptions.
• Use ellipses to indicate trailing off or pausing.
• Consider using exclamation marks sparingly or they lose their impact.

Formatting:

• Use one voice per paragraph, even if it’s just one word.
• Combine one character’s voice and action in the same paragraph.

Tags and Beats:

• Use universally accepted tags such as said, asked, and whispered.
• Use acceptable tags such as mumbled or murmured sparingly.
• Use action beats to advance the story.
• Don’t use tags and beats at the same time.

Conclusion: Using Dialogue to Elevate Your Writing
Trust your characters. Let their unique experiences, goals, and flaws guide how they speak.

​Authentic dialogue isn’t just about the words; it’s about the story behind their words. 

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Finishing a manuscript is a victory worth celebrating, but the journey is far from over. The art of refining your story begins in the self-editing stage.

Establishing a self-editing routine isn’t just beneficial, it’s essential. Every author who is interested in pursuing publishing, whether traditional publishing or publishing independently, needs to establish an effective self-editing routine.

Self-editing saves you time and money. It helps you strengthen and develop your story. It helps you grow as an author. And it gives you the opportunity to verify the accuracy of your references and facts.

And it doesn’t have to be overwhelming. When you establish a routine that you can revisit with each book, you will begin to establish an editing rhythm, one that allows you to refine and style your stories with less stress.

So, how do you create an effective self-editing routine that will benefit you and your book? Grab a cup of coffee and let’s get started!

Develop a Self-Editing Strategy
Every professional editor knows you can’t edit effectively if you are editing for voice, POV, story structure, grammar, punctuation, and clarity all at the same time. That’s why there are different levels of professional editing.

First, you seek a developmental editor for the foundation and structure of your story.

Then you address the sentence-level issues to ensure the clarity and efficacy of your message or story.

Finally, you focus on the grammar and punctuation issues.

In the same way, you want to establish a strategy to help you focus on individual aspects of editing in stages that are manageable.

It may be helpful to make a checklist here. It will help you break down the elements you want to watch for and the questions you want to ask. Then you can divide those elements and questions into stages. This will help you streamline the process without missing any important issues.

Remember, the more effective your self-edit becomes, the more money and time you can save yourself on the next stage of the editing journey. Here are some sample questions you might want to consider as you begin building your checklist.

Structural questions may include things like:

• Do your characters have agency?
• Is your plot structurally sound?
• Do you have the necessary plot points?
• Do your characters have recognizable growth?

Sentence-level issues questions may include:

• Are your sentences clear?
• Are you using active voice and passive voice appropriately?
• Are there any repetitive or confusing sentences that need to be rewritten or removed?
• Do you have consistent pacing?
• Is there a balance between narrative and dialogue?

Finally, once you have the structural issues eliminated and your sentences are clear, review your manuscript for the details—grammar, punctuation, capitalization, formatting, etc.

An important note: During the copyediting stage of your self-edit, you should be constructing a style sheet. This is easily one of the best time- and money-saving decisions you can make during self-editing. Style sheets ensure your professional editors have the information necessary to edit with consistency. They won’t have to spend time contacting you for spelling- or context-related questions if you have already outlined them in your style sheet.

If you don’t know how to make a style sheet or aren’t convinced of its benefits, check out Elevate Your Story with a Style Sheet for more information.

Consider the Best Methods for Your Editing Purposes
Once you’ve established a strategy, you need to consider which method or methods would be most helpful to you. For example, using Word’s Read Aloud feature may be beneficial as you work through the sentence-level stage. You can hear where specific sentences sound awkward or confusing and address them accordingly.

Printing your manuscript may be especially helpful during the structural phase when you can move pages around to help you visualize the flow. Or, it may prove to be the easiest method for identifying punctuation and grammar errors.

Finally, seeking feedback from alpha readers can be helpful before sending your manuscript to a professional editor. You can gain valuable insights on structure and sentence clarity from other authors, friends, or family members who are willing to give you honest feedback.

Give Yourself Time to Edit Thoroughly
The idea of working through all 100,000 words of your manuscript for editing can feel overwhelming. Especially after you have just done the hard work of writing.

The desire to hand off the manuscript to an editor and move on to the next project can be strong. Resist that urge. Put the manuscript in the drawer for a few weeks (or months if you have the time) and give yourself space to breathe.

Once you’ve had sufficient time away, plan out a few months or more for editing. Nothing increases stress like the panic of running out of time. You don’t want to rush the self-editing process. After all, you’re going to make multiple passes through your manuscript, and you want to give this step as much love and attention as you did the writing stage.

As you move through your edits, take regular breaks. Reward yourself as you accomplish each stage and give yourself plenty of grace. You aren’t going to know every grammar rule. Your goal is simply to make your story the best it can be with the help of the Holy Spirit. Giving your manuscript this extra love and attention will elevate you as a writer and set you up for a better professional editing experience.

Finally, as you begin editing, pray. Ask God to give you wisdom and insight as you work through the editing stage of the publishing process. After all, he gave you this story to begin with. He can help you make it shine.
 
Edit Your Book Objectively
It can be difficult to view the book you have poured so much time, emotion, and energy into objectively. I get it. This is your baby. However, as you work through the edits of your story, strive to hear it through the ears of your readers.

Is a scene confusing? Consider expanding on that area to improve clarity. Is a scene slow or lacking in tension, suspense, or plot development? Consider removing it.

It can be very tempting to grow attached to our writing. After all, we pour so much of ourselves into it—writing and rewriting until we get it just right. However, sometimes removing scenes, characters, or lines of dialogue are necessary to improve and elevate your story.

As I like to tell my clients, deleting something from your manuscript doesn’t mean you have to delete it forever. Keep a file of clipped phrases, plot points, jokes, or stories that may not fit perfectly in your current book but may be perfect for the next one.

You want this story to be the best it can be. Even if that means removing phrases or characters you’ve come to love. Listen to the leading of the Holy Spirit, then edit accordingly.

Conclusion: Using Your Self-Editing Routine to Polish Your Story
Self-editing is perhaps one of the most important pieces of your publishing journey. Don’t skip this step. You will grow ​as an author. Your story will improve. And your readers will thank you.

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There are some genres of nonfiction that benefit from the same writing techniques used in fiction novels. Memoirs, autobiographies, biographies, self-help, bible studies, and even devotionals need to create a scene to draw readers in. They do more than just tell a story. They create connections with their readers.

So, how do you elevate your nonfiction book with fiction writing techniques?

Grab a cup of coffee and a comfy chair, and let’s get started.

Create a Great Hook
Just like fiction authors create engaging, suspenseful, and compelling hooks to interest readers and keep them turning the page, a great hook is essential in many genres of nonfiction writing.

Nonfiction readers are picking up your book to learn something, but they also want to be engaged and entertained. They want to connect with you through real-life stories. They want insight gleaned from walking through life in the unique way you have. They want real-life applications to help them grow.

But in order to teach your readers anything, you have to give them a reason to read. That means knowing your audience. The same hook that works for you may not work for me. Going broad or vague here won’t work. You have to know who you are writing to—who you are helping with your message—or you won’t write an effective hook.

Narrow your audience down to that one person you know could be helped by your story. Then write a hook that will give them a reason to turn the page.

Give Readers a Reason to Trust You
Why should readers pick up your book? Why should they trust your advice? Why should they believe in you or what you have to share?

Trust begins with connection. If readers don’t know you, they won’t trust you. If they don’t know you, they won’t listen to you. And the whole point of writing the story God put on your heart is to share it with others, right? To help others benefit from what you have already learned, tested, and found worthwhile.

So, how do you build a connection with someone you’ve never met?

The same way fiction writers build connections between their readers and characters.

You show them who you are as a three-dimensional person with unique strengths and flaws. One who is credible because of what you’ve walked through or equipped yourself with. One who is authentic and vulnerable.

You can do this by asking yourself a few questions.

So what?
You’ve written a book. So what? Why does that matter to the particular audience you wrote for? What’s in it for your reader? What makes your story different from the others on the market?

Answer these questions, and you will begin to build authenticity and connection with your readers.

Who cares?
This is when you need to consider exactly who you are writing to. Not a general audience. Not even a niche group. Think of one person you want to reach with the message in your book. Why would they care about what you have to say?

Answer this question, and you will begin to build trust with your reader. They will feel as though you are speaking directly to them and to their needs.

Why you?
Nonfiction writers need credentials. You are writing to teach something or share a specific message with your audience. If they are to believe what you’re writing, you need to show them you know what you’re talking about.

Answer this question, and you will build credibility.

Set the Scene
Every writer everywhere has heard the admonition, show don’t tell. But perhaps as a nonfiction writer, you didn’t see how it would pertain to you. The truth is, if you are writing a memoir, biography, devotional, or bible study, your message will be much more impactful when you utilize this fiction writing technique.

Look for feeling words (scared, tired, happy), thinking words (pondered, considered, realized), linking verbs (become, seem, appear), to be verbs (am, is, are, was, were, be, been, being), or adverbs (excitedly, timidly, angrily) in your writing. These are often indicators of telling rather than showing.

That’s not to say that telling is all bad. Telling in some capacity is necessary. However, when it jars the reader out of the story, it may be time to implement your fiction writing techniques.

Consider how you can use the five senses to create vivid imagery that will engage and entertain your readers. Perhaps you even want to create a list of your favorite sensory words as you work through your story and look for ways to show your readers what you experienced and how your experience can help them.

This may be where a great editor or writing group can help you. They can help you see each scene objectively.

 You want detail, but it has to be the right kind and the right amount.

Getting an outside perspective can be the key to nailing this technique, engaging readers, and building connections. Ask them to look for areas that can be enhanced with a bit of sensory detail, so you can satisfy readers while sharing your message.

Dialogue can also be a great tool to draw readers into the scene. Are there places where you can show readers the emotion or action of the scene through dialogue?

Nonfiction readers aren’t all that different from fiction readers. They want to experience events through the eyes of the character. In this case, you.

They want to feel the struggles. Experience the suspense and tension. Celebrate the breakthroughs. And they want to do it as though they were walking the path with you.

So, whether you are writing a short devotional or a full-length memoir, take your readers on the journey with you. Write scenes that are compelling and full of detail. Show them. Don’t tell them.

Conclusion: Enhancing Your Nonfiction Story
Nonfiction books aren’t just about giving information.

They inspire, teach, and encourage.

They share truth and conviction.

They help others forge a better path, overcome obstacles, and gain clarity.

They create conversation and community.
​
And when you add the elements of fiction to enhance the connection with your readers, you elevate your message and leave a lasting impact on your readers. 
​

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I love reading a great young adult fantasy novel. Even in my adult years, there is something timeless and special about those fantasy worlds that easily capture and transport me to another place.

However, through the years of reading and editing fantasy novels, I have found there are a few pitfalls that seem to be common to authors of this genre. Challenges that, when overlooked, can dilute the message, confuse readers, or prevent your book from finding its way into the hands of your target audience.

There is a beautiful balance in great fantasy novels. A balance between magic and realism. A balance between detail and simplicity. And that balance is different for each book, so it's essential to know your message, your characters, and your goals for the story.

So, let’s take a few minutes to review some important aspects of fantasy writing and help you make your story the best it can be.

Choose the Right Details for Your Story
Fantasy stories are known for their elaborate and detailed story worlds. In fact, it’s one of my favorite things about fantasies—the ability to transport you to another world altogether, if only for a short time. However, even in fantasy worlds, you want to maintain a sense of realism and authenticity. It’s a fine balance. How much magic is too much? How much detail is too much?

I want to become deeply immersed in the world your characters are living in. I want to smell what they smell, see what they see, and hear what they hear. But I don’t want to wade through seven pages of world description when it does nothing to advance the plot, build tension, or develop the characters.

This can be challenging for authors because to write a great story, they have to know all the ins and outs of their story’s world. However, that doesn’t mean all those details will make it into the story their readers will experience. Nor should they.

The same goes for writing powerful, magical scenes. Readers love to experience the possibilities that fantasy worlds offer, but if your climax results in an epic battle devoid of what is believable, relatable, or authentic for the world you have built, you will lose your audience. Even in the realm of magic, readers want to feel authenticity through the characters, through the experiences, and through the story.

Stay the Course
Just as it can be easy to include too many details or unrealistic aspects of your characters’ world, it can be tempting to include as many subgenres as possible. Some authors think that by including several subgenres in their fantasy writing, they can appeal to a wider audience.

However, often the opposite is true.

Readers are niche. They know what they are looking for, and if you fail to deliver on the expectations of each genre you include in your book, you will lose those readers. Not to mention, you will often end up with a story with so many plotlines that you confuse readers, drop lines, or lose your story arc altogether.

Stay the course. Write your story—the story God gave you to write—and trust the process. The right readers will come to you. They will be more satisfied with the product. And you will build a fan base eager to engage with your future works.

Keep the Fire
Finally, one of the most challenging aspects of fantasy writing is keeping the momentum throughout the entire book.

Fantasy writers are gifted authors. They create fantastical characters, magic systems, and imaginary worlds combined with intense conflict, epic battles of good and evil, and life-changing journeys. It can be very easy for any author to lose momentum partway through the book in one area or more.

While romance authors can focus on the relationship between their characters (and I’m not bad-mouthing romance books; I love a good romance story!), fantasy authors have to balance the magical components of their fantasy world with the practical components of plot line, character development, and story arc.

This is why being a part of a great writing group or partnering with an experienced editor (or both!) is so essential to building a solid, engaging, powerful story.

Conclusion: Writing an Epic YA Fantasy Novel
Fantasy writers provide an incredible service to this world.

They create possibilities.

They offer hope.

They inspire their readers every day.

They show physical battles, spiritual battles, and magical possibilities unfolding in ways that capture readers and allow them to experience a world beyond their own.
Worlds ripe with justice and happily-ever-afters.
​
If you are a fantasy writer, God has gifted you with a unique and desirable story. Nurture it. Polish it. And using these strategies, bless your readers with a story that engages them with the perfect balance of detail, magic, focus, and passion.
​

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Point of view is more than just a technical choice—it’s the lens through which your readers experience your story. As an editor, I often see manuscripts falter not because of weak plots or characters, but because of inconsistent or unclear POV. The narrator’s perspective shapes everything—what the reader knows, how they feel, and how deeply they connect with your characters.

Let’s get started by identifying the three most common options for POV. Then, we will help you find the right POV for your story.

Grab yourself a cup of coffee and let’s get started.

Distinguishing  and Understanding POV

• First Person: This POV uses words like “I, me, and we” and is the most intimate option, letting readers see the story through the character’s eyes. With this POV, you’re limited to sharing with readers what this character knows, sees, hears, feels, etc. It’s close and personal, but you must be careful not to include aspects of the story that the POV character couldn’t know.

Ex: I clenched my fist as the needle slid into my arm. I was so tired of doctor’s appointments.

• Third Person Limited: Third-person POV uses words like “he, she, and they” and offers a few variations, which we’ll look at more in-depth below.

Similar to first person, and regardless of which variation of third person limited you use, readers should only see what the POV character can see, hear, and know. It is common to see dual POV in the third person. This means the POV character can be different in each scene or chapter.

An important note to consider when using more than one POV is that each character’s POV needs to remain consistent in tone and voice throughout the book. If you have a character who speaks in short, choppy sentences, their thoughts shouldn’t be written in long, poetic phrases. You will also need to consider how each character’s POV is shaped by their worldview, experiences, and relationships.
With third person limited, you can use two variations: shallow or deep.

• Limited Shallow: Limited shallow is what has most commonly been known as third person limited.

Ex: Beth clenched her fist as the needle slid into her arm. I am so tired of doctor’s visits, she thought.

• Limited Deep: Limited deep is a variation of third person limited that is becoming increasingly popular. It is still restricted to one perspective at a time, but it allows authors to build a deeper connection between readers and characters.

 
Ex: Beth clenched her fist as the needle slid into her arm. Lord, I’m so tired of these appointments.

• Third Person Omniscient: With third person omniscient, the narrator knows everything about everyone. However, this can easily slip into “head-hopping” if not handled with care, so this POV takes some experience to master.

In third person omniscient, the narrator’s voice will remain the same regardless of which character’s perspective is being shared. There will also be no change in the setting description or worldview. This is different from third person limited, where readers will hear each character’s voice and tone when the POV changes.

Ex: Beth clenched her fist as the needle slid into her arm. I am so tired of these appointments, she thought.
Tammi smiled a small, sad smile. She had seen the spark die out in Beth’s eyes over these last six months.

Consistency Is Key to Great POV
The most common mistake I see with POV is “head-hopping”—jumping between characters’ thoughts within a scene. Head-hopping disorients readers, pulling them out of the story and weakening their emotional connection with each character. If you’re writing from Beth’s perspective, you can only share what Beth can hear, feel, smell, or see. You can only share Beth’s thoughts and Beth’s past.

When you are writing or self-editing for POV, make sure you stick to one character’s perspective per scene (ideally per chapter), and make any shifts clear with scene breaks or chapter changes.

Which POV Is Right for Your Book?
As a rule of thumb, the first character mentioned in any scene should be the POV character. You also want to ensure the POV comes from the character doing the action. This creates an immersive experience for your reader. One in which they can connect more deeply with the character. As you consider your POV choice, ask yourself:
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• Whose story is this?
• Who has the most at stake in each scene?
• What do I want the reader to know—or not know?
• Does the POV character assume motivations, thoughts, or feelings about another character?
• Who is doing the action in the scene?
• Is the POV character an observer or a participant?

Genre is also an important component when choosing your POV. First-time authors, especially, will benefit from using a traditional POV for their genre—one that their readers will be familiar with and accept. For example, most memoirs are done in first person, middle-grade fantasy books are often best in limited third, while romance is typically from third person limited with dual point of view.

Knowing your genre will help you determine the best POV option for you.

Conclusion: Making the Most of POV’s Power
POV isn’t just a technical choice. It’s a powerful tool in your writing arsenal. Take the time to consider which POV makes the most sense for your story. What is the most common POV for your genre? And which POV are you most comfortable writing?
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When you master the POV in your story, it allows you to build suspense, create surprising twists, develop tension, and deepen emotional resonance. It builds a compelling story that allows your readers to step into your story world, and it allows you to connect more effectively with your readers.
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Photo by Kateryna Artamonova on Unsplash

​If you have spent time researching a developmental editor for your novel or nonfiction book, you probably know that each editor is different. Each developmental edit is different. And unless you take time to talk to prospective editors ahead of time, you may find that what you thought you were getting isn’t what you ended up with.

Why is that?

Editing is an unregulated industry, and as such, the depth of what a developmental edit entails is subjective to the editor. Those differences are related to the editing courses they took and the instructors and mentors they learned from. That being the case, it is beneficial for every author preparing their manuscript for a professional edit to do their due diligence. Ask your prospective editor what type of edits they offer and what each edit entails.

I offer my clients developmental edits or manuscript evaluations. You can learn more about the difference and what is best for your book in the article What Type of Editing Do I Need?

But you may be asking, How do I know which developmental editor is right for me?

That’s a great question. And while not all developmental editors offer sample edits, for those that do, comparing sample edits to your preferences and needs can be a great way for you to find an editor who matches your style.

So, what would a developmental sample edit look like? Let’s take a few minutes to dive in so you will know what to expect and what to look for.

Submit a Sample of Your Book
I think it goes without saying, but when you ask a developmental editor for a sample edit, you should be prepared to provide them with a sample (usually one chapter or about 1000 words) of your book. Editors have different preferences in word count and chapter number when they are asking for a sample.

Some editors prefer the first chapter of your book. Others prefer something from the middle. There are benefits to both, and honestly, each editor knows what they need to gain the greatest understanding of your style and your book’s needs.

Personally, I request a one-thousand-word sample from the middle of your book. I believe it gives me the truest sense of your talents, style, message, and areas of opportunity. And getting to know a bit about you and your book is the goal of a sample edit.

In turn, you will get to know me, my experience, skills, and editing style through the feedback you receive. So, what will that feedback include? Let’s take a look.

What Type of Feedback Can You Expect?
The type of feedback your editor provides will depend on the type of book you are submitting. For example, if you are submitting a fiction novel, you can expect feedback on basic fiction writing techniques.

Did you make good use of active voice?
Does your character have agency?
Are your character’s motivations authentic?
Is your setting realistic?
Do you use sensory details?
Do you have a good understanding of POV?

If you submit a nonfiction sample, you can expect feedback regarding logic, flow, and readability.

Is your message clear?
Can the reader follow the points of your message easily?
Do you connect with your target audience?

You may also receive feedback on the type of edit you need. For instance, you may think you need a developmental edit, but your editor realizes that you would benefit more readily from book coaching instead. This is valuable feedback to uncover during a sample edit. It will save you both time and money, keeping you from wasting resources on an edit that won’t provide your book with what it truly needs.

Finally, you may receive some feedback regarding sentence structure since developmental edits and line edits can, at times, overlap.

What You Won’t Find
Just as important as it is to know what you will receive is knowing what you won’t. Don’t be surprised if you don’t find feedback on your story structure or character arcs in a sample edit.

“But isn’t structure, plot development, and character development an integral part of the developmental editing process?” you might ask.

Yes, it is. However, these components of the story span the entire book, and therefore, can be very difficult to evaluate in one thousand words or less. That doesn’t mean your editor couldn’t point out a plot hole if something doesn’t make sense. But for the most part, those issues will be addressed when the larger edit has taken place.

Conclusion: Maximizing a Developmental Sample Edit
It’s true that not every editor offers a developmental sample, but it may be worth asking potential editors if they will consider providing one. And while they aren’t strictly necessary for securing a great editor, if you do receive one, the benefits can go beyond simply finding the right person to partner with on your publishing journey.
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They can save you time and money, provide you with wonderful insight, and offer you direction and guidance as you take the next step to share your story with the world.
 

Photo by Seljan Salimova on Unsplash

​Christian fiction has the potential to reach readers with the gospel message in ways that nonfiction cannot. Readers who pick up Christian fiction may never be willing to pick up Christian nonfiction, therefore, there is a unique opportunity here for fiction authors.

However, authentic Christian fiction isn’t always easy to write. There are some important considerations to make as a Christian author to ensure your story is effectively teaching the principles you hope to convey.

Let’s take a look at some of those considerations more in-depth. Grab a cup of coffee and let’s get started.

What Message Is Your Story Presenting?
First, as a Christian author, you need to consider the message your story is presenting. This message should be conveyed through the beliefs the protagonist lives out in the story.

These beliefs will impact their thoughts, actions, and reactions as they move through the story and encounter obstacles and conflicts. In addition, the obstacles and conflicts they experience should also be, in part, a natural consequence of those beliefs, actions, and reactions.

No one wants to read a story with vague messaging that concludes with a long speech about what the protagonist learned. Determine what message you want to convey to your readers, and then share that message through the journey the protagonist takes as their beliefs are strengthened, challenged, or changed.

Do Your Characters Have Vague Beliefs?
If your protagonist doesn’t have specific beliefs that shape their thinking, words, and actions, they won’t be authentic to your readers. Everyone has beliefs that they have cultivated either through their upbringing, their faith, or their experiences.

Perhaps they believe that cutting corners is the best way to get to the top.

Perhaps they believe that they need to put themselves first because no one else will.

Perhaps they believe that God is sovereign, and they don't need to worry about what might happen next.

These beliefs should be evident to your readers in the way your character speaks, thinks, and acts. They should motivate their responses and even create consequences as a result.

No matter what it is, take the time to cultivate three-dimensional characters driven by specific beliefs. (Solid character profiles are so helpful here.) Even if your readers don’t know the details of where those beliefs came from, their actions and words will become more authentic. And when your characters’ beliefs are clear, you can effectively move them toward the principles and truths you want them, and your readers, to learn.

Do Characters Talk About Their Beliefs Rather Than Act on Them?
It’s one thing to say you believe something. It’s another thing to act on it.

It’s the same with your characters. Unless you are intentionally portraying a character who says one thing and does another to create and heighten conflict, writing characters who speak about their faith but don’t act on it or allow it to influence their actions and words will fail to deliver an impactful message.

Do Your Characters' Choices Receive Authentic Consequences for Their Actions?
We all know that doing the right thing doesn’t always result in the right consequences. That’s part of living in a fallen world. So, does your story reflect that?

If your character always does the right thing and always reaps the rewards, your readers will quickly become bored. Not only is that not realistic, but it strips the story of conflict and tension. This makes for a boring story.

At the same time, if your protagonist encounters negative consequences no matter how many positive choices they make, this is also unrealistic. Readers will notice, and you will lose interest.

You can’t convey biblical principles or a message of truth and hope found in Christ if readers fail to finish the book. Balance is the key to writing a story that is authentic and relatable but also exciting and impactful.

Do Your Characters Have One-Dimensional Beliefs?
It doesn’t matter how mature your protagonist is, they will have besetting sins they struggle with. These struggles represent one dimension of their belief system.

They will also have areas where the Lord is growing them, or if they don’t become a believer until the end, this may be the catalyst that confronts their current belief system.

Finally, they will have the beliefs that have been cultivated throughout their life, those that they have seen proven and played out. These all mix to create a system of beliefs that are always growing and evolving.

If you write a character who believes and acts on every biblical principle, your character will be flat, unrelatable, and unrealistic. This is not our human experience. Even Paul said in Romans 7:15 that the thing he wanted to do, he didn’t do. And the thing he didn’t want to do, he did.

Real life isn’t as simple as learning a new biblical principle and then effortlessly and flawlessly carrying it out. It shouldn’t be that way for your characters either.

Do Your Characters Change Too Quickly or Dramatically?
This goes hand in hand with the point above. Again, Paul’s frustration with his behavior and choices reflected in Romans 7 shows us that changes in our thoughts, beliefs, and behaviors don’t happen overnight.

There is a season of transitioning. Learning the new principle. Applying the new principle imperfectly. Processing the impact. Trying again. On and on until it shapes our thinking and becomes a foundational part of our belief system.

Throughout the process, our sinful nature and old beliefs are still warring with this new understanding. If that war isn’t evident in your character’s journey, you are missing authenticity and conflict that make your message more impactful.

Essentially, your character should start in one course of belief and end in another, but the middle—the messy in between, where they sometimes do the right thing and sometimes don’t—should make up the majority of the story.

Do Your Characters Change Without Clear Justification?
Just like characters who change too quickly aren’t believable, characters who change without justification are equally unbelievable. We don’t change without a specific event to change our perspective. A new bible verse. A specific trial. A conversation with a friend. Something challenges our current thinking and invites us to explore a new perspective or belief.

Depending on the context of the situation, the event can be small or large, but it has to be impactful to the character to be believable and relatable. Show that to your readers. You’ll gain empathy and buy-in when your readers get to take the journey with your characters. You’ll build trust and connection that helps your readers remain more open to the principles and messaging you want to convey.

Are Your Character Given a Clear Decision Point?
Finally, characters must face a clear point of conflict near the end of the story that forces them to make a decision. Will they follow their old pattern of beliefs or move toward a new perspective?

This point of conflict must be significant enough to realistically motivate the characters in a way your readers can relate to.

Conclusion: Delivering a Compelling Message with Your Christian Novel
Christian fiction authors have an incredible platform to share messages of hope and truth with individuals who may not otherwise read Christian material.

There is something unique and compelling about a well-written novel. Something that touches the soul and sparks curiosity, connection, and openness. Something beautiful.
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And when you’ve written your characters with clear relatable beliefs and struggles, your readers will be able to hear that message in a powerful way.
 
 

Photo by Chris Barbalis on Unsplash

Christian fiction can present unique challenges for authors. How do you balance good and evil in a manner readers will believe and relate to? How much darkness do you portray in your novel? Does showing the reality of darkness in the lives of the story’s characters honor God?

These are all questions Christian authors must wrestle with. And while the answer is subjective, I believe that the Bible is a great measuring stick.

God portrays evil in Scripture because it’s a reality of our existence. Therefore, showing the same struggles in Christian fiction may be just what your readers need to see the hope of Christ.

So, how do authors do that realistically and authentically?

Let’s take a look at some of the challenges Christian authors face as they prepare a novel that honors God, meets the expectations of their readers, and sells more books.

Should a Christian Novel Avoid Evil?
One challenge Christian authors face is whether their story should contain realistic elements of the evil we encounter in this world. Most Christian fiction I have read would largely fall into this category. The characters are all happy. They have minor conflicts and dilemmas, but overall, the story world they live in is a very cheery place.

For readers looking for a feel-good story, this is OK. However, for readers who want a story they can relate to, this type of story isn’t going to deliver. And the market for readers who want a story they can relate to continues to grow.

The truth is that evil is real.

There are battles in the spiritual realm that impact us.

There are temptations from the enemy that affect our everyday lives.

There are conflicts in our relationships—even with those we love.

The battle between good and evil is very real, and trying to depict a story without it is to create a story with a gaping hole in the plotline.

Bitterness, sinful anger, pride, lust, greed, and gossip are only a few of the ways we open the door to evil in our lives. Not to mention our own sinful hearts tempting us to act in any number of selfish, impatient, or unkind ways.

We need a Savior.

And a story that doesn’t whitewash sin but reflects our desperate need for Jesus will portray an accurate and God-honoring reflection of our true existence, connecting with readers through authenticity.

How Much Darkness Is Too Much?
Conversely, Christian authors may also be tempted to write a story that leans too hard on the dark or gritty side of life without the light of Christ to balance it out.

Scripture portrays the truth of evil in this world, however, it doesn’t describe a grim, dark world void of hope. Rather, it describes our world as fallen—a world cursed by sin and in need of a Savior.

Allowing fiction characters to be impacted by the sin of this world in authentic ways must always be balanced by the hope found in Christ.

That’s the truth of Scripture.

That’s the truth we want to convey to our readers.

Do Your Christian Characters Always Make the Right Choices?
An authentic story begins with authentic, three-dimensional characters. Readers expect characters to act and react in believable ways. Nothing will land a book on a DNR list faster than characters they can’t relate to, empathize with, or cheer for.

So, when writing your Christian fiction story, watch out for characters who act or react in a way that isn’t genuine to how real people would behave. If your character is always doing the right thing or saying the right thing, that should be a red flag that your character isn’t acting true to human nature. Even the most mature Christians still sin.

And your characters should reflect that humanity.

Another example is portraying your villain with no redeeming qualities.

Again, a three-dimensional character will have both good and bad traits. A villain can demonstrate loyalty to a particular friend or family member even while acting in evil ways toward the protagonist. Perhaps their own backstory could even demonstrate the evil that was done to them, allowing the reader to empathize with their pain.

There are countless ways to give your antagonist authentic traits, but if they are always doing only the most evil and vile things, you may be missing something.

Keep in mind, this challenge may pop up in a particular scene or throughout the story as a whole. You want to evaluate each scene objectively to determine if characters are acting and reacting in genuine and believable ways.

When you encounter this issue, there are three solutions you can consider.

Revise the Character
The first option is to revise the character. Take some time to think through why the character is making that particular choice. Perhaps their response to the conflict is authentic, but you need to take the reader through your character’s thought process to make it more believable. This can help readers understand why the character is making that choice.

Character profiles can be exceptionally helpful in times like these. Digging deeply into who the character is, where they came from, and what they believe will help you ensure that their words and actions are delivered realistically.

Revise the Scene
The second option is to revise the scene. Can the conflict be changed so that the character’s response makes sense in light of the scene?

Maybe the conflict written isn’t the best option for conveying your character’s three-dimensional beliefs and authentic personality. It doesn’t allow your protagonist to show their faults and humanity. Perhaps an alternative conflict could offer the reader an opportunity to connect with your character or empathize with them on a deeper level, one that is more relatable and believable to their own human nature.

Revise the Response
The third option is to revise the character’s response. This means taking out the original response and replacing it with something that feels more authentic. Would your protagonist really turn the other cheek? Or would they allow their pain and anger to prompt them to hurl hurtful words in return? How would that change impact the rest of the scene? The rest of the story?

Oftentimes, this decision results in a stronger, more honest, or more interesting story.

Are the Christian Characters in Your Novel Authentic?
The second challenge that Christian authors face is evaluating whether their Christian characters are portrayed as sinless and perfect, while their unbelieving characters are portrayed as selfish and sinful.

When creating characters, your worldview as the author matters. Do you believe people are predominantly good or that people are predominantly broken and in need of a Savior?

If you believe people are predominantly good, you may struggle to write a protagonist who struggles in authentic ways with their own sinful nature.

If you believe that people are broken and in need of a Savior, you will likely be able to see that all your characters have qualities born from their God-given strengths and qualities born from their inherent weaknesses as sinful humans. Both should be portrayed in your story to create relatable and interesting characters.

Does Your Story Leave Room for Consequences?
Another issue Christian authors can face when creating an authentic story world is presenting a world where, anytime characters do the right thing, success or positive consequences follow.

We know that following Christ and doing the right thing often results in positive outcomes, but we also know that sometimes, after doing the right thing, hard times still result.

The truth is that God didn’t create a world that rewards good choices. This world is marked by sin and evil, which is why we long for something more.

If your story consistently shows the protagonist achieving success for their right choices, you are missing some of the obvious challenges they would be facing in a given situation. These challenges not only produce authenticity in the story but they heighten the tension and conflict, making the story more interesting for readers.

Conclusion: Balancing Good and Evil in Christian Fiction
While it may be tempting to lean heavily one way or the other when portraying light and dark, the truth is, we should see both facets of reality presented throughout the story.

There is good and there is evil.

There is darkness, but there is hope in Christ.

This isn’t a one-size-fits-all approach; rather, both should be present in some capacity throughout the whole book.

Perhaps the majority of the book is heavy with dark times that the protagonist is treading through. You can still show relationships in their life that point to goodness and light. Characters who make the protagonist feel safe, loved, accepted, and comforted.

And when the protagonist does encounter the hope at the end of the story, ensure the light that is portrayed is significant and impactful enough to balance the rest of the story.

Finally, you want to consider what details of darkness are actually necessary for readers to feel the struggle and emotional weight the protagonist is experiencing.
Obviously, the level of darkness depicted in an adult novel should be different than what is depicted in a young adult or middle grade novel. However, necessity should be judged by the story’s goal and what’s needed to achieve that.
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Ultimately, you, as the author, should be asking yourself: By the time the story ends, do my readers believe that the light is more powerful than the darkness?