Self-Editing for Fiction Writers:
How to Edit Yourself Into Print
by Renni Browne and Dave King

Reviewed by Sandra Orchard

According to Browne and King, "self-editing is probably the only kind of editing your manuscript will ever get." Today's publishing houses simply can't afford to bring manuscripts to their full potential. So if you don't want your manuscript dismissed as amateurish, adopt the techniques presented in this book, before you submit a proposal.
 

Unlike most books on the craft of writing, this book is designed to be used after you've written your first draft but I suggest you read it now, then read it again when you're ready to do revisions. Each lesson features both good and bad examples from published works, followed by a checklist of tips, and two or three exercises to further your understanding. Answers are even provided at the back of the book.

The first lesson explains how to "show versus tell" and thereby attain a balance between immediate scenes and narrative summary. Writers must resist the urge to explain by naming a character's emotion or reaction. Instead, evoke it in the reader by showing her what the character sees. Don't introduce new characters with exposition. Allow their personalities to emerge through actions and dialogue. This type of "showing" is the foundational principle for most of the self-editing points in the book.

The chapter on "point of view" stresses the importance of allowing the reader to see the scene through both the eyes and the voice of the POV character. For this reason, you must orient the reader to the POV character in the first line of a new scene. Although voice is one of those elusive aspects of writing that develops over time and can't be forced, useful suggestions are offered to help you understand your voice and those of your characters.
 

According to the authors, dialogue can make or break your chances of publication because many editors will find a scene with dialogue and if they decide it doesn't work, will toss the manuscript. Dialogue needs to be more compressed and focused than real speech. Use contractions, short words, sentence fragments and string sentences together with commas. Read your dialogue aloud. Different characters should have their own particular rhythm, vocabulary and conversational style. The extensive lesson on beats will help you bring your dialogue to life and convey the essence of your characters far better than exposition.

The book shares a variety of tricks to help you add sophistication to your writing, while avoiding the taboos that brand you a novice. Applying these hints will transform your manuscript. After almost a decade and a half in print this book is still a current and essential resource for writers preparing their fiction for submission.

Highly recommended.