Self-Editing Series Part #2: Character Development and Depth

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Last week, I introduced you to the art of self-editing. This process is the bridge between a rough draft and a polished masterpiece. It allows you to refine your story and elevate your storytelling to new heights, and it saves you time and money.

“But how do I edit my own writing?” you ask. “What do I need to focus on as I edit my fiction?”

I’m glad you asked, my friend.

There are three major areas to focus on during the fiction self-editing process: plot consistency and coherence, character development and depth, and dialogue and pacing.

Last week, we covered plot consistency and coherence, the first section of the essential self-editing checklist. Today, we’re going to be talking about another vital element of your story, if not the most vital element: character development and depth.

Character Development and Depth

Whether your story is plot-driven or character-driven, characters make your story.

If you are a plotter and planner, when you were planning your story, you probably gave a great deal of thought to your character development. You might have filled out character profiles, interviewed them, or done any number of things to develop them into living, breathing beings (or maybe not living or breathing, depending on your story).

You may have explored their motivations and story arcs, worked on figuring out how they speak and what they say, decided on descriptions for them, and made sure they are relatable and multidimensional.

Does that mean you should skip this part of the self-editing process? Of course not.

Self-editing is the part of the writing process where you make sure your story presents what you want it to present. Planning ahead is wonderful, if that’s how you roll, but planning is one thing—execution is another. You need to be sure that your protagonists and antagonists pop—that you’ve conveyed their motivations and executed their story arcs properly, that their dialogue matches them, and that you’ve created 3D characters your audience can relate to.

Self-Editing for Character Development and Depth

One of the keys to creating memorable and compelling fiction lies in the depth of your characters. Whether your story is plot- or character-driven, your characters will make or break it.

As you engage in self-editing, you need to to dedicate time to refining and enriching the portrayal of your protagonists and antagonists. Delve into their backstories, motivations, and inner conflicts. Ensure that they evolve and grow throughout the narrative. Stay consistent. By providing your characters with authentic emotions, desires, and flaws, you allow readers to connect with them on a deeper level, fostering a sense of empathy and investment in their journeys. Pretty awesome, huh?

Consider these tips:

Create Multidimensional and Relatable Characters

On your self-editing journey, be sure to delve deep into your characters’ inner lives as you double-check your character development. This is a step you might have already taken at the beginning of your writing process if you’re a plotter, back in the outlining phase or even before, but checking up on your execution as you edit is just as important. Make sure you’ve explored your characters’ hopes, fears, and vulnerabilities. Seek opportunities to uncover more layers of complexity and conflicting emotions. Real people are incredibly complex; a good character will feel just as complex.

When writing, I’ve often found that the more I “hear” a character in my head as I go, the more likely it is that they will blossom on the page, but that is hardly a surefire method.

It rarely hurts to check again and do a little more tuning up before you decide your story’s done. Ask yourself if you have crafted relatable experiences and dilemmas that will resonate with readers.

What makes multidimensional characters? A name and a nice description aren’t nearly enough, are they? So let’s go a little deeper:

  • Avoid Stereotypes and Clichés: Stereotypes and clichés are oversimplified generalizations about certain kinds of people. They’ve been seen before. They’re boring. Sometimes, especially in the case of stereotypes, they can even be harmful.

    We writers want our characters to be well-rounded, and so do readers. They want characters that feel authentic, not flat and predictable. And, more and more—“Thank goodness,” says this neurodivergent and fat queer—they want characters who are diverse.

    The rest of this post goes into various ways you can ensure that your characters are multidimensional and feel real, so that should help take care of the flat clichés. What about stereotypes?

    Research.

    If you’ve included characters from different ethnic or cultural backgrounds than you, who have disabilities that you don’t share, or who are from other marginalized groups that you aren’t a member of, research, research, and more research is critical. You should have done this before you got this far in the self-editing process, but if you haven’t, do it now.

    Once you’ve researched your ass off, make sure the characters you’ve written about feel like people. Every person in every group in the world has wants and needs. Everyone has flaws. Everyone comes from somewhere. Everyone has strengths. Your characters should be no exception.

    Then, if you are writing someone who is part of a marginalized group, I highly recommend having a sensitivity reader take a look, so you can be sure that you’ve gotten it right.
  • Backstory: Backstory is a super important part of multidimensional characters. Characters, like people, are products of their pasts. Everything that has happened to them has turned them into the person they are at the start of the story.

    Digging into a character’s backstory offers valuable insights into their actions and decisions. Their backstory shows your readers what has influenced their personality and beliefs. It shows readers where these characters came from and how they became who they are. A character’s past should reverberate through their present. This is what shaped them. Their past relationships, their formative experiences, those pivotal moments that changed everything—these made them.

    And getting to see this side of them, then watching them grow into someone new? It adds veracity to their journey.

    Like any other details, backstory should be doled out with care. Info-dumping is no good. You need to balance the need for depth and development with the rest of your narrative. That way, you can heighten suspense or emotional impact with a well-timed revelation.

    As you self-edit, ask yourself some of these questions: Are the characters’ present selves compatible with their pasts? Can you trace their present to their backstory? Does their backstory have an effect on who they are and how they behave?

    If not, ask yourself how you can fix it.
  • Emotional Depth: I’m going to touch upon emotion several times in this post, but it bears repeating here. Emotional depth is something you want your characters to have, naturally. It breathes life into them and the narrative, and it gets your reader invested in them.

    The most important emotions should be shown, not told. Your reader should be able to feel what the POV characters feel and see what they see. They should know what the POV character is thinking. And it needs to be familiar.

    When you are writing, it is important to portray emotions authentically, without overblown melodrama and without glossing them over…even if the character is melodramatic or emotionally constipated.

    You’ll need to draw from your own experiences for this—the ol’ “write what you know” chestnut, albeit indirectly. We’ve all been happy. We’ve all been angry. We’ve all been devastated or horrified, or experienced all manner of other emotions. Remember how these emotions made you feel—in your head, in your body.

    While you’re self-editing, make sure your experience of those sensations lines up somewhat with the characters’. It doesn’t have to be an exact match, of course—everyone feels things differently, and if all of your characters feel and react the exact same way as each other and you, well, that’s no fun, is it? And it’ll feel inauthentic.

    There I go, beating on that authenticity drum again.

    …and, if you’ve read any of my other posts, you can probably guess that I’m going to beat on my The Emotion Thesaurus (Kindle version) (non-Amazon link) drum again, too. Because for some of us (*cough* me *cough*), remembering how I felt or reacted as I was experiencing certain emotions doesn’t come naturally for me. The Emotion Thesaurus, as I’ve said before, was a total game-changer for me. I swear by it.

    For your readers, your characters are vessels for the myriad emotions and feelings that you want to evoke with your story. The more authentically they experience these feelings, be they dramatic and intense or soft and silent, the deeper they will draw your readers into your world. While you’re self-editing, ask yourself if you have achieved that with them. Are their interactions with other characters emotionally charged? Do the characters connect with each other? Are their reactions and feelings evocative? Do they make sense? Do they seem authentic?
  • Internal Conflicts: I’ve spoken about external conflict a little bit throughout this series, but I haven’t touched quite as much on internal conflict or how it’s different, I think.

    If you’re not familiar with internal conflict, it is a struggle between a character and themself between their desires, their needs, their values, their morals, their fears, or other internal forces.

    We all have our own internal struggles. I do, you do, your family members do, your friends do. Since your characters are reflections of reality, they should be no different.

    Internal conflict reflects our universal struggles, and so it engages your readers on an intimate level. The clash between their internal and external struggles fuels this connection. People root for heroes who are relatable and struggling and against villains who are equally understandable, not the ones who feel inauthentic and flat.

    And readers love to watch a character’s transformation from one state to another. Internal conflict is a major source of that change, especially as it clashes with the external conflicts. While self-editing, pay as much attention to your characters’ internal struggles as you do their external ones. Do they feel authentic? Do they drive the story forward? Do they drive the characters’ growth forward—or, in some cases, backward? Do they reflect understandable struggles between internal forces?

    If not, try to build them up a little.
  • Vulnerability, Weaknesses, and Flaws: In my post on emotional resonance, I went into the importance of vulnerability, weaknesses, and flaws in characters. Here, I’ll cover it in a little more depth.

    In short: Readers don’t like characters who are perfect. Readers cannot relate to characters who are perfect. However, characters who are vulnerable and flawed, who have weak points? That we can understand.

    We all have our flaws. We all have our weaknesses. We all have vulnerabilities. I’m sure there’s not a single person reading this who is perfect. Goodness knows I’m not perfect. Never have been, never will be.

    Through the lenses of vulnerabilities, weaknesses, and flaws, readers see what makes the characters human. These traits invite readers deeper into the heart of the characters. As they watch the characters struggle and fight to overcome these sides of themselves, these limitations and dark sides and more, they feel more compassion for the characters and are more interested in them.

    Readers love watching characters push past the odds that are stacked against them and grow into someone stronger and better by the end of the story. They root for these characters. They weep for these characters. They love these characters—or they loathe them and eagerly await their defeat.

    As you self-edit, make sure your characters are imperfect. What are they vulnerable to? What weaknesses do they have? What flaws do they have? Are these big enough to have a significant impact on them and the story? Do they make sense with who the characters are? How do they impact their relationships with the other characters?

Even in the middle of the most fantastical settings and the wildest scenarios, even if they aren’t human, your characters should feel like real individuals with depth.

If they don’t, your readers will struggle to empathize with them and connect to them on a personal level. But by infusing your characters with authenticity and relatability, you will breathe life into your narrative, fostering a profound and lasting impact on your audience.

Assess Character Motivations and Arcs

Assessing character motivations and arcs is a critical step in the self-editing process. The characters’ journeys from Point A to The End are the elements that fuel the emotions in readers’ hearts and keep the juicy, juicy conflict flowing. You can have the most brilliant plot and the most beautiful prose in the world, but if something is wrong with the characters’ motivation and arcs, it will suck a great deal of depth out of the story.

As you self-edit, take the time to examine the driving forces behind your characters’ actions and decisions, ensuring that these are grounded in their personalities and circumstances. Evaluate the progression of their arcs, considering how they evolve, confront challenges, and ultimately experience transformation or growth.

Let’s break this down further. Here’s what you need to be sure of when you’re assessing your characters’ motivations and arcs while self-editing:

  • Authentic Motivations and Goals: Character goals are just that: what your characters want to achieve. Character motivations are “the reason behind a character’s behaviors and actions.” If you want to get into your characters’ heads, if you want your readers to be immersed in their stories, then you need to know the characters’ motivations and goals, and they need to make sense.

    Our own motivations are rooted firmly in who we are. Our goals are as well. We are all shaped by our lives, and our desires and drives and needs are shaped by our lives. Your characters should be no different. You want your readers to be invested in your characters. You want your readers to believe.

    To get that, your characters need to feel real. They need to have been shaped by their lives. They don’t have to be rational—they just need to make sense.

    When you are self-editing, pay close attention to what drives your characters. Do they make sense when combined with their pasts, their beliefs, their lives? Do their decisions make sense? Do their motivations conflict? How do their motivations intersect with the plot?

    If your characters’ motivations or goals don’t make sense somewhere, if they don’t feel authentic, then it will throw your readers out of your story.

    So, what do you do if you’re self-editing and find a trouble spot here? That’s when you dig into it. Why doesn’t this motivation or goal make sense? Is there a way to make it make sense? Can you tweak the backstory a little and integrate this destination for your character more neatly? If not, you’ll need to change these driving forces somehow.

    Let’s go with our sandwich-craving friend from Part One. Their motivation is hunger. Pretty straightforward. They want a ham sandwich. Their goal is to get a ham sandwich.

    But what if you’ve already established that they’re a vegan, or they’re keeping kosher? Then you have a problem with the character’s goal and need to fix it. Not a hard fix—just change the kind of food they’re eating and call it a day.

    Some of these kinds of issues are a lot trickier to deal with than wanting an incompatible sandwich. Those take a lot more analysis to handle, a lot more thinking.

    Grab a piece of paper or open up a document and start thinking out loud on the page. Ask yourself questions about what needs to happen, what you can do to make this work, what can you do instead—that’s my preferred method for figuring out issues like this. There might be another method that works better for you.

    Look out for inauthentic motivations or goals as you self-edit, and think on them until you figure out a solution.
  • Consistent Growth: Stagnation is not something readers want when they’re diving into a story. Unless you are working with a deliberately static character (more on that in a bit), your characters should be dynamic. They need to grow in some direction, and that growth should be the natural result of the challenges they’ve faced along the way.

    Sudden, forced transformations are just as bad as stagnancy. Your characters’ growth should come from their journey. Their experiences should change them somehow. Stories involve change. In her book Steering the Craft: A 21st Century Guide to Sailing the Sea of Story (Kindle Version) (non-Amazon link), Ursula Le Guin said the following:

    And a story equally needs what Jill Paton Walsh calls a trajectory—not necessarily an outline or synopsis to follow, but a movement to follow: the shape of a movement, whether it be straight ahead or roundabout or recurrent or eccentric, a movement that never ceases, from which no passage departs entirely or for long and to which all passages contribute in some way. This trajectory is the shape of the story as a whole. It moves always to its end, and its end is implied in its beginning.

    A character’s arc needs the same kind of trajectory. Whether it is a straight line or as curvy as a backroad to the middle-of-nowhere, it must continue, it must be interwoven with everything else, and it must make sense.

    As you are self-editing, map out the trajectory of each character’s arc so you know where they’re going and how they’re getting there. Does the arc progress naturally from something they are lacking at the beginning of the story? Have they grown steadily, albeit maybe with some setbacks and retreats along the way? Have they retained their core identity? Have the obstacles they’ve faced been enough to cause their adaptations and changes? Do the changes fit the overall story?

    If the answer to any of these is no, what do you do? You edit. What is lacking here? Is the growth too sudden? Slow things down, then build them up some more. Is it too much of a change? Tone it down. Were the challenges too small for such a dramatic shift? Spice up the challenges or tone down the growth. Does their change not match the rest of the story? Adjust either the growth or the overall story.

    Authenticity is key.
  • Static Characters: Static characters are characters who don’t undergo significant transformations during the story. Despite how they might sound, they shouldn’t be boring at all.

    There are a number of reasons you might want a static character or three in your story. Since we’re in the self-editing phase here, we’ll skip over that. Even if they aren’t experiencing much of a change, their motivations and actions should come from their lives, just as they do for dynamic characters. They should feel as real and as well-rounded as any other character.

    When you are self-editing, give them as much attention as you do the rest of their cast. Do their goals and motivations make sense? Their beliefs and attitudes? Are they multifaceted or one-dimensional? Are they relatable or ridiculous? Do they add complexity and depth to the story?

    If not, it’s time to get to work. Take a close look at them to figure out what’s not working. Analyze it. Figure out how you can fix it.

    Then, fix it.
  • Impact on Plot: After all of that blather, it’s probably no surprise to hear that your characters should be woven into your plot, is it?

    Your characters and your plot should be intertwined. They shouldn’t merely react to events—they should actively influence them and change the plot’s direction. They should shape the story. They should be so integral to it that this story could only happen to them.

    As I’ve said already, all of the things that your characters do should come from who they are. All of it is connected, and it should drive their decisions and actions. And those decisions and actions should have consequences that alter the course of events.

    Those decisions and actions should make an impact on other characters’ arcs as well. Our Sandwich Person’s decision to go for the sandwich impacts their sister’s lunch and their roommate’s lunch. The roommate’s bread devouring affects Our Sandwich Person’s lunch, and, ultimately, the sister’s. The sister’s personality and behavior impact Our Sandwich Person’s lunch and, ultimately, the roommate’s.

    Your characters and your plot should intertwine. As you self-edit, ask yourself: Do they do that? Do the characters’ motivations and goals lead them into situations that drive the story onward? Do they conflict, and does that conflict alter the trajectory of the plot? Does that alteration change the characters’ trajectory? Do their decisions have significant consequences at pivotal moments? Do they propel the plot to its grand finale?

    Does it all feel natural?

    If the answer to any of that is no, then it’s time to figure out why and how you can fix it.
  • Emotional Resonance: I’ve covered emotional resonance on this blog before, but it bears mentioning again.

    Emotional resonance is the ability of a story to evoke strong emotional responses or connections from the audience. It is crucial for a narrative that is deeply impactful, relatable, and memorable. When a narrative elicits strong emotions and connections, it reverberates in the readers’ hearts and minds, strengthening the connection between reader and story even more.

    When a story has emotional resonance, it is filled with authenticity, relatability, and depth. With its powerful themes and emotions, it creates strong emotional bonds with its readers, leaving them more satisfied with the story.

    This is the beating heart of your narrative, and at its heart are—you guessed it—the characters. As you self-edit, examine how the characters’ emotional arcs connect with the larger themes of your story. Does their personal growth align with your story’s message? Does it feel authentic? Does it feel universal? Does it feel human?

    (Even if you’re working with non-human characters, your readers need something to connect with.)

    If your answer is no, I recommend checking out my post on emotional resonance for possible solutions to this issue. 

By carefully assessing and refining your characters’ motivations and arcs, you can create compelling narratives that resonate with your readers, providing them with a rich and satisfying exploration of the human experience.

Enhance Character Descriptions and Dialogue

Descriptions and dialogue are powerful tools for bringing your characters to life and advancing your story. With living, breathing characters populating your story, you will grab more readers by the heart and take them on a more satisfying ride.

During the self-editing process, focus on bringing your characters to life through rich and evocative descriptions that engage the readers’ senses.

Don’t go too far, though! Make sure you’ve painted your clear picture of their appearance, mannerisms, and unique traits with a delicate brush. Balance is key. Too much, and you risk either deviating into purple prose territory or bogging the story down with an information overload, ruining all of your hard work in the pacing department.

Dole these descriptions out with care, giving the readers enough for a visual and emotional connection while leaving them craving more.

Moreover, give special attention to dialogue. Make sure your dialogue tags and attributions go with the right characters and provide clarity. Ignore all advice you’ve heard about “said” being dead—“said” is invisible. I’ll cover that a little more later, but for now: “said” is not dead.

Ensure that every character’s manner of speaking is distinctive, giving each one their own voice, but don’t go too far in that direction: subtlety and clarity are your friends.

Let’s dig into some things you need to focus on as you self-edit:

  • Rich Descriptions: “Description begins in the beholder’s eye,” Rebecca McClanahan says in her book Word Painting (Kindle version), “and it requires attention.” In a later chapter, she says:

    “The characters in our stories, songs, poems, and essays embody our writing. They are our words made flesh. Sometimes they even speak for us, carrying much of the burden of plot, theme, mood, idea, and emotion.”

    Rich descriptions are immersive and evocative. They engage your reader, transporting them to your story’s world and revealing just enough to paint a vivid, clear picture. You don’t want them to overload the reader—you want them to feed your reader’s imagination with carefully delivered sensory details.

    The relationship between description and characters goes beyond describing their appearances, mannerisms, and quirks. Those are important, to be sure, but descriptions should also engage the reader in the rest of the world.

    Descriptions should be shaped by the viewpoint characters: the details they notice, the thoughts they have, the way they intersect with the characters and the plot. How does the POV character experience a taste on their tongue? What do they see when they look around them—do they notice the curtains or the dust, do they miss the blood on the wall? How do they see it?

    Ensure that the language a character uses is consistent with their experiences and world. A character from the 19th century wouldn’t compare something to a modern day piece of technology unless something really interesting with time travel was going on. Likewise, only a certain kind of teenager would use archaic language and dress like an old-fashioned dandy (the kind of teenager I would’ve loved to have been friends with back in my teen days, but a distinctive kind nonetheless).

    We are all a product of our lives, and when it comes to their perception of the world, your characters should be no different. Descriptions should reveal as much information about them as they do their world.

    While you’re self-editing, ask yourself: Does this description paint a clear picture of the world (or perhaps a deliberately murky one)? Does it integrate seamlessly into the narrative? Does it infuse life into the characters and the story?

    Is it a reflection of your POV character? Does it reveal something about them as it reveals the world around them? Does it feel like something a character with their background and their life would think?

    If not, then it’s time to roll up your sleeves and get to work.
  • Distinctive Dialogue: First things first—two quibbles to get out of the way.

    1. Don’t write out accents

    2. Stick with “said” (or “say”/“says”) for your dialogue tags

    There we go. Now that that’s out of the way, let’s get down to business, shall we? What does dialogue have to do with characterization? Plenty. What your characters say, how they say it, and what they do as they say it reveals a great deal about them. Now, I’ll be going into dialogue in more depth next week, but we’ll go ahead and cover how it goes together with characterization.

    Like everything else, the way your characters speak is fueled by their background—just like it is with us. Let’s take me, for instance: I’m from the U.S. South, but my vocabulary, for the most part, doesn’t match. My parents say “wallago” instead of “a while ago,” call beanies “boggins,” and use all sorts of other language that stems from their upbringing.

    Meanwhile, I spent most of my childhood devouring books, and my favorite (and most easily understood) subject in school was English class. I became a word nerd young. I enjoy etymology, grammar, writing—all of the fun things under the word nerd umbrella. My exposure to literature and my love for creating it shaped the way I speak and the way that I communicate through text.

    Spending a lot of time online has also shaped the way I speak a great deal. I talk of “adulting,” use “smol” and “tol,” think “But I am le tired” when I’m exhausted. “Spoons,” “brainweasels,” “neurodivergent,” and “SPN A/B/O PWP” are part of my lexicon (I love the evolution of this hodgepodge of a language). They’d mean nothing to my parents—nor would “pain points,” “xe/xer,” “bylines,” “A1C,” or a multitude of other terms I’ve picked up from marketing my blog, the queer community, working for a newspaper, or having diabetes. They wouldn’t use those terms in their dialogue, but I might.

    Your down-home country boy ain’t gonna use no highfalutin’ five dollar words unless he has a damn good reason. Bobzo the Example Guy probably isn’t going to drop a “y’all” into his dialogue, since, afaik, he’s from New York, maybe? I don’t know where he’s from, actually. I don’t think our sandwich-lover would ask for biscuits and gravy instead of a sandwich, either (their loss; biscuits and gravy are good).

    Each character should sound different when they speak or think, and that should be a reflection of who they are and how they made it to this point. You should be able to tell who is speaking based on their word choices and body language just as much as you can by dialogue tags.

    And keep in mind that people don’t always say what they feel, too. People hide their feelings or lie about them. They get sarcastic. Their body language often reveals what their mouths don’t.

    Ask yourself if you’ve made sure of these things. Do the characters’ words reflect who they are? Do they make sense for these characters? Are they too revealing or not revealing enough?

    Analyze your dialogue, and if something is out of line, rewrite it.
  • Relevance and Impact: Your descriptions of your characters and their dialogue should be windows into the characters’ souls, not window dressing. You want to integrate them seamlessly into your story and ensure that they serve a vital purpose.

    Every description and every spoken word should have weight. As I’ve said already, they need to reflect the characters’ experiences and selves. They should also be relevant to the story. They should explore the dilemmas and conflicts your characters face, and illustrate their struggles and triumphs. They should reflect the characters personalities, backgrounds, motivations, selves.

    As your characters confront various challenges, their dialogue and descriptions should shed light on the central themes of your narrative. They should shape and drive your plot. They should have intention and purpose.

    They should matter.

    I know this sounds like a lot, but it really doesn’t have to be blatant. A subtle or delicate nudge of development or reflection of the character can be just as effective.

    As you self-edit, ask yourself: Does this dialogue carry weight? Does this description? Does it illustrate the world around your character, the narrative they’re caught up in, or who they are? Is it relevant to some element of the story? Does it have meaning?

    Does it matter somehow?

    If it carries some kind of weight, if it’s relevant to the plot or its themes, keep it. If not, make it mean something.

Above all, readers crave an emotional connection to your characters. Good descriptions and dialogue generate that connection. They capture the intricacies of each character, their personalities, their quirks, their vulnerabilities and struggles and desires. They show us people (or other sentient beings) with strengths and flaws and emotions.

Through descriptions and dialogue, readers get to know your characters on a deeper level. They can hear their voices. They can share this journey with the characters. 

By carefully refining your character descriptions and dialogue as you self-edit, you can make this happen.

Conclusion

Every story is a trio of puzzles, and learning how to edit your fiction is usually a matter of learning what to edit within it. While self-editing, there are three major components that you need to focus on: plot and structure, character development and depth, and dialogue and pacing.

Character development and depth is, quite possibly, the most important puzzle of them all. Your characters are your readers’ windows into the story. They are the movers of the plot, the reflectors of the themes, and so much more.

Readers want characters who have layers. They want characters who feel as real as the person sitting next to them. Paying special attention to your characters while self-editing is vital.

Make sure that you have created characters who are multidimensional and relatable. Double-check that their motivations and story arcs make sense. And, of course, enhance your descriptions of them and your portrayal of their dialogue.

Speaking of dialogue, next week, we’ll be covering dialogue and pacing, along with addressing how editing your own manuscript can actually save you time and money. In the meantime, thank you for reading, and I hope I’ll see you for What to Watch for Wednesday this week and for the last part of this series.


How are you at handling character development in your stories? Is it something you struggle with? Tell me in the comments below!

The third and final part of the Self-Editing Series, Dialogue and Pacing, goes up next week!

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