How Do Writer Novelists Approach The Editing Process?

Writing can feel like an enormous task, especially when you’re starting out. The first tip I’d share is to truly find your voice. It sounds cliché, but your unique perspective is what brings the words to life. Spend time journaling or writing casually to discover how you express your thoughts. This can help you craft your narrative style without the pressure of a formalized format. Another important nugget is to outline your ideas. It’s like having a roadmap for your writing journey. When ideas are jotted down in a structured manner, it helps streamline the flow and keeps you focused. I often use bullet points or mind maps to help organize my thoughts before committing to paragraphs. Don't forget to embrace the editing process! It might feel like a chore, but those rough drafts are just the starting blocks. I used to dread the idea of revising, but it’s surprisingly rewarding to see how much clarity you can bring to your first draft. Invite constructive feedback. Sharing your work with trusted friends or writing groups can open your eyes to different perspectives, improving your skills in the process.

If your story lives or dies on the character’s inner life, I’d pick first person in a heartbeat. I like the way a tight first-person voice can do three things at once: reveal personality, filter everything through a specific sensorium, and create a claustrophobic intimacy that makes readers keep turning the page. When the narrator’s opinions, prejudices, or emotional state are the engines of the plot — think obsessive curiosity, wounded cynicism, or naive wonder — giving them the wheel in first person magnifies every small choice into a charged moment. Practically speaking, first person is brilliant for unreliable narrators and mystery-by-omission. If the reader only knows what the narrator knows (or what they admit to), suspense becomes organic; it isn’t manufactured by withholding facts from an omniscient narrator, it grows from the narrator’s own blind spots. It also gives you a huge advantage with voice-led stories: a sardonic teen, a theatrical liar, or a quietly observant elder can carry plot and theme simply by the way they tell events. Examples that illustrate this magic are 'The Catcher in the Rye' for voice and 'Fight Club' for unreliable intimacy. That said, there are costs. You’ll lose the luxury of omniscient context, and you must be careful with scope and plausibility — how does your single narrator credibly learn the bits of the plot they need to narrate? Framing devices, letters, or multiple first-person perspectives can rescue those limitations. I once converted a draft from close third to first person and the book came alive: scenes that felt flat suddenly hummed because the narrator’s sarcasm and small, telling details colored everything. In short, choose first person when the story needs to be felt as much as understood — it’s a gamble that often pays off in emotional punch and memorability.

I find the idea of AI generating best-selling novel plots fascinating but complex. AI tools like ChatGPT or Sudowrite can certainly help brainstorm ideas, craft outlines, or even generate prose, but they lack the human depth needed for truly resonant storytelling. A best-selling novel isn't just about a technically sound plot—it's about emotional nuance, cultural relevance, and unexpected twists that feel organic. AI can mimic patterns from existing works, like the enemies-to-lovers trope in 'Pride and Prejudice' or the high-stakes intrigue of 'Gone Girl,' but it struggles with originality. For example, 'The Silent Patient' worked because of its psychological depth, something AI can't authentically replicate. That said, AI is a fantastic tool for overcoming writer's block or refining drafts. The magic still lies in the human touch—editing, intuition, and lived experience—that transforms a plot into something unforgettable.

I've noticed that free book writer AI tools often come with significant limitations. The most glaring issue is the lack of depth in storytelling—they tend to produce generic plots and one-dimensional characters. Free tools also usually have strict word limits, making it impossible to write a full-length novel without hitting a paywall. Another problem is the repetitive phrasing and lack of originality. These tools rely heavily on existing data, so they often recycle clichés or overused tropes. They also struggle with nuanced emotions and complex world-building, which are crucial for engaging fiction. While they can help with brainstorming, relying solely on them for a complete book usually leads to disappointment. For serious writers, investing in better tools or honing manual writing skills is often the smarter choice.

I get a little giddy talking about this — picking platforms feels a lot like choosing which conventions to attend: each has its vibe, its crowd, and the kind of conversations you can have. For sheer discovery and networking, I lean on X (the old Twitter) and TikTok. X is where short, punchy lines and writing threads can catch the eye of other writers, editors, and bookish folks; I've gotten manuscript critiques and invites to collabs from a single thread. TikTok — especially the 'BookTok' corner — exploded how readers discover new authors, and five seconds of a quirky hook or a behind-the-scenes clip of my messy desk once sent dozens of people to my sample chapter. Instagram still works if you like visuals: mood boards, character art, and carousel posts for micro-chapters are lovely for building an aesthetic. For deeper connections, YouTube or long-form livestreams are gold: do a read-aloud, a craft breakdown, or a Q&A and people stick around. But don’t treat social platforms as your only home. Your own website plus a newsletter is non-negotiable for me — it’s where control sits. I use Substack to send monthly chapters and reflections, and often tease those via socials. For serialized fiction, Wattpad or Royal Road can be brilliant discovery engines; fan communities on Reddit or specific Discord servers can turn casual readers into superfans. Patreon or Ko-fi are for the next level of engagement and modest income: bonus chapters, early access, or a cozy members-only chat. Mix and match: pick two places for discovery (TikTok, Reddit), one for long-form community (Discord, newsletter), and one place to monetize or archive your work (website, Patreon). Practically, repurpose content: a chapter excerpt becomes a TikTok, an Instagram carousel, and a newsletter teaser. Track what sparks comments, not just likes — conversations are the real currency. And honestly, don’t feel pressured to be everywhere. Start small, be consistent, and treat platforms like stages with different audiences: show up as you, listen, and slowly the right readers will find you. If you want, I can sketch a starter two-month plan for any one platform you pick.

Growing up in a comfortable but somewhat buttoned-up English household in Berkhamsted left a mark on me when I read about Graham Greene. His childhood and schooldays—Berkhamsted School and then Balliol College, Oxford—gave him both the classical education and the sense of being slightly out of step with the world, which I can totally relate to. There’s that lingering, polite English reserve in his characters, but also a restless, searching mind that clearly came from those early years. The real pivot, for me, is his spiritual crisis and conversion to Catholicism in 1926. That event reshaped how he looked at guilt, grace, and moral failure; books like 'The Power and the Glory' and 'The End of the Affair' feel soaked in that struggle. Add a period of severe personal strain and depression in his late twenties and early thirties, plus the brief journalistic work at 'The Times' and early tastes of travel—those ingredients made him cling to themes of sin, compassion, and doubt. When I read him now, I hear the echoes of school corridors, late-night theological arguments, and a man haunted by questions he couldn’t shake off.

When I first heard that the writer had pulled the lost lyrics from the album, I felt a mix of relief and curiosity. It often comes down to respect for the work: if lyrics go missing, incomplete, or get reconstructed from shaky memory, releasing them could misrepresent the writer’s intent. I've seen bootleg versions of demos where guesses fill in blank lines and it turns a fragile, honest piece into something it never was. There's also the practical side. Lost lyrics can mean there are legal and credit issues—co-writers, ghostwriters, samples that weren't cleared, or even estate concerns if the writer passed away. Removing the incomplete text keeps the album from becoming a legal headache or a source of public speculation about who actually wrote what. Finally, there's emotional context. Sometimes lyrics are lost because they were never meant to be finalized or because they tie into a painful time the writer doesn't want revisited publicly. As a fan, I want authentic art, even if it means missing a few fragments. If they ever surface in a deluxe reissue or a liner-note essay, I'll be first in line to read them, but for now I respect the silence.

I’ve always kept a little pile of tiny books by my bed — perfect for stolen moments — and over the years a few collections rose to the top as must-reads for anyone who writes flash. If you want a grounding in the form’s history and variety, start with 'Sudden Fiction: American Short-Short Stories' (edited by Robert Shapard and James Thomas). It’s an anthology that shows how compressed storytelling can still hit like a punch. Equally useful is 'Flash Fiction Forward', which gathers contemporary voices and reminds you how elastic tone and voice can be in a handful of pages. For technique and experimentation, I turn to 'The Rose Metal Press Field Guide to Writing Flash Fiction' — it’s not just examples; it gives prompts, structural breakdowns, and small assignments that actually changed how I draft. Then there’s Lydia Davis: read 'The Collected Stories of Lydia Davis' slowly, in tiny doses. Her sentences taught me that every word can carry the plot and the music. If you want global breadth, pick up 'Flash Fiction International' (edited by James Thomas, Robert Shapard, and Christopher Merrill) and Etgar Keret’s 'The Bus Driver Who Wanted to Be God and Other Stories' for punchy, surreal sparklers. Mix anthologies, single-author collections, and craft guides — that combo changed the way I write flash, and it’ll sharpen your instincts too.