Let’s dig in.
7. Editing As-You-Go (Like a Masochist)
Every time you stop to “just tweak that one sentence,” a writer fairy dies and your book gets one step closer to never being finished. That’s not a fact, but it FEELS true. You are not building the Eiffel Tower out of toothpicks.
When in this early stage of a novel, getting words onto the page is the most important thing rather than writing the correct spelling or a sentence. You don’t need to polish Chapter One to perfection before you’re allowed to write Chapter Two. Writing is drafting, then shaping. If you keep going back to fix things mid-process, you’ll be stuck in an endless loop of “almost done” that never actually finishes.
Just write the damn thing.
So repeat after me: Separate your writing and your editing! Make them two different processes, independent of one another. If you are constantly going back and changing small details, you will never move forward. If you are always second-guessing yourself and everything you put into the story, you will be exhausted and the creativity will dry up. Don’t edit a single thing until the first draft is finished. You’re polishing the hood ornament of a car that doesn’t have wheels. Editing as you go is like trying to vacuum the house while the party is still happening. It’s a waste of time, and it kills the flow.
Try This:
• Set a timer: No editing until you write for 25 minutes straight. Just word-vomit.
• Use [BLAH] for anything you can’t figure out right now. Come back later.
• Write in Comic Sans or some hideous font so you won’t be tempted to make it “pretty” until Draft Two.
It can be trash. It should be trash. That’s what second drafts are for — and third drafts, and crying.
8. Fluffy Dialogue
If your characters are saying things like:
“As you know, Bob, we’ve worked at this company for 10 years,”
please shut the laptop and take a walk. A long one.
You know what’s worse than clunky, unnatural dialogue? NOTHING. Nothing is worse. Dialogue can skyrocket your story to success, or sink it to the bottom. The difference between these two can be a matter of a few words. People don’t speak in exposition dumps or perfect grammar.
People don’t talk like that. (Well most don’t; I don’t know the weirdos in your life) The first step is to make sure each character has a distinct voice which emerges naturally from detailed character development (as discussed in Part 1 of this series), and which should always come before you dive into the main bulk of story-writing.
Then? Give your characters mess! Give them the kind of weird, specific, spice that lives in your group chats.
Terrible dialogue should never stop your momentum or workflow (as discussed above, you can always edit it later), but in ht grand scheme remember that unnecessary pieces of dialogue only add bulk, and rarely quality. The good news is that tightening up lame dialogue is usually an easy, if not vaguely embarrassing, process.
Next, you want to identify and eliminate words that are unwanted or redundant. For [horrifying] example:
“Kevin, are you upset with John for some reason?” Sarah asked.Sure this exchange has clarity, but I regret to inform you: this dialogue stinks and sounds like two customer service reps on a Zoom call. It is stilted, repetitive, unrealistic to how human beings genuinely communicate, and above all: many parts aren’t even needed.
“You’re absolutely right, I am mad at John!” Kevin replied.
“Why is that, Kevin? You do not have a reason to be mad.”
“Oh yes I do, Sarah. I have every reason. Can you not see how mad I am?”
Here is how this exchange looks once tightened and compressed:
“You’re upset with John?” Sarah asked.
“Of course.” Kevin said.
“I don’t get it.”
Kevin felt the heat gathering in his face as his hands began to shake.
The exact same information is gleaned within a sleeker format, and action that delivers some nice “showing-not-telling.” This exchange thus reads easier and allows the story to keep moving at a better pace. So. What do you do?
Try this:
• Read your dialogue out loud. If you cringe? Rewrite it. If it sounds stiff, it probably is.
• Cut at least 30% of it. People don’t talk that much, I promise.
• Watch an episode of your favorite sitcom and write down the actual lines. Study how short, sharp, and weird they are.
Give your characters personality, rhythm, and, most importantly, purpose.
I beg you.
“She walked into the room. It was nice.”
Sorry kid, your descriptions are so dry they could crack a lip. Descriptions demand a balancing act:
- Too much description overwhelms the readers and kills a scene.
- Too little leaves readers feeling lost.
- And BLAND descriptions leave readers bored and uninterested.
• Go through your draft and highlight every “nice,” “pretty,” or “beautiful.” Replace them with a specific image, texture, or sound.
• Take photos of real places/objects. Write descriptions based only on what you see.
• Start the descriptions early, and build on them gradually as you go.
• Avoid describing places your characters haven’t been to yet. Describe them when they first arrive.
• Be specific but selective. Be detailed when showing your readers what they need to know, but include only what is necessary and relevant.
• Include all senses in your descriptions. Sight, smell, touch, sound, and taste—if applicable.
All to say: don’t write like you’re filing a police report. Descriptions should evoke a mood, a feeling, a sensory anchor. It’s not enough to say the room was “nice” or the trees were “green.” What did it smell like? What did it remind the character of? The right detail — just one — can bring a whole scene to life. What does it feel like in there? Smell like? What made her want to cry, scream, or order a burrito? Give me something, anything, that doesn’t read like a real estate listing.
10. Writing in a Vacuum / Trying to Do It All Alone Like a Martyr
Get out. See sky.
Let someone else tell you your pacing is off.
You’ll survive.
I promise.
Feedback isn’t cruelty. It’s community.
Writing a novel is hard. Doing it alone is harder. Share your work with trusted readers. Take breaks to read other books. Talk to writers. Get feedback — and learn how to separate the helpful from the noise. Community and perspective are your best antidotes to burnout, doubt, and tunnel vision. Be a human being with goals and friends and a bathing schedule. I say this with love, but also urgency: let someone read your stuff.
Try this:
• Join (or start) a low-stakes feedback group: 3-5 people, snacks optional but recommended.
• Share one paragraph with a trusted friend. Not the whole novel — just dip a toe.
• If you can’t handle feedback yet? Read your work out loud to yourself. Even that will reveal weak spots.
Finally: