​Some Basic Guidelines
Capitalization's primary function, beyond signaling the beginning of a sentence, is to draw the reader's eye to important terms. But some writers, particularly in fantasy, overcapitalize. And the reason is understandable: More so than any other genre, fantasy is full of wonderfully creative terms for novel inventions and fictional species. Fantasy writers build entire new worlds from scratch, and that can make everything feel important.

But sometimes less is more. If Every Word In A Sentence Is Capitalized, Even The Important Words Lose Their Effect. Did you find that previous sentence harder to read? I bet so. In the same way, your reader will find it difficult to get through a passage where too many words are pulling at their attention equally rather than in proportion to their importance.

So how do you avoid overcapitalization? Unfortunately, there's not an easy answer for fantasy writers. In some respects, you get to make your own rules. But let's talk about some guiding principles to start you on the right path.

Consistency is the most important element in any style decision, and capitalization is no exception. No matter which categories of words you capitalize, make sure you're consistent throughout the entire book or series.

Balance is also key. As I said, if everything's important, nothing is. You want to draw your reader's eye to the correct places. Here's my advice: when in doubt, be conservative. Readers pay more attention to capitalized words, so they are more likely to overlook a lowercase term that should probably be capitalized than they are to forgive an author for capitalizing terms willy-nilly.

Finally, a good rule of thumb for any fantasy capitalization conundrum is to compare it to a real-world equivalent. In fact, as you'll see from the examples below, that's probably the best way to approach most of your capitalization. Following existing conventions that your reader already knows and understands will help immerse them in the story and keep them from focusing on or questioning your capitalization decisions.

Ready to dive in? Great!

Proper Nouns
Let's start with something easy. Certain terms are always capitalized because they're proper nouns. People's names are a great example. Locations such as cities, countries, and recognized regions are also capitalized. But note that ordinary directions are not.

They walked north for several miles.
They wandered around the North Coast for days.

Landmarks and organizations are also capitalized if referring to specific places or recognized entities. Otherwise, lowercase.

Head to the mountains.
You must pass through the Mountains of Despair.

I reckon they're from the bureau.
He was from the Bureau of Human-Elf Relations.

Titles and Relationships
With titles, ranks, and relationships, you'll want to follow real-world conventions as well: Lowercase common nouns and capitalize proper nouns. Put simply, if a name accompanies the title, capitalize them both. If a relationship description replaces a name (as in the final example below), capitalize it.

The king was coming.
They bowed before King Levotz.

A group of healers rushed toward the wounded.
He turned to look at Healer Tristan.

The boy cried for his mother.
I wish Mom were here.

Deities and Other Powerful Beings
Things can get trickier with deities and other powerful beings. But it helps to think of them like all the terms we've covered so far. If a term points to a specific entity, then capitalize it, but leave generic terms lowercase.

Another way to think of it is that capitalizing a term referring to a deity or other powerful being signifies that it is the only one of its kind and you therefore couldn't be referring to anyone else. It's a replacement for its personal name, if it has one, just as in the example with Mom above. But if there are multiple similar beings, of which this is only one, then you'd lowercase the term. (Though you would, of course, capitalize any personal name it had.)

He's one of the great ones.
I've consulted the Great One.

The gods are living among us.
This is God's plan.

Many of them, including Phabus, were dark lords.
It was the Dark Lord who cursed us.

Species and Races
Ah, here's where things get really confusing. In science fiction especially, the terms species and race are often confused or used interchangeably, so let's sort that out first. If it's been a while since you've studied biology, a species is a class of individuals with common attributes that can breed with one another but not with other species. Examples of species in the real world are humans, cats, and blue oak trees. Notice that we don't capitalize any of those. Similarly, if you have elves, vampires, or dragons in your stories, you generally won't capitalize them either.

A race is a group within a species that shares a common background. Just as we often capitalize races such as Asian, Hispanic, and Black in the real world, you may want to capitalize certain races in your fantasy world to distinguish them from each other. If you have Shadow Elves and Lucent Elves, for instance, capitalization could be a good way to set the two races apart. And if a race's name is derived from a proper noun, such as the particular place where that race originates, then it would definitely be capitalized. Think of the Hungarian Horntail, a type of dragon from Harry Potter.

As you can see, the general rule is to lowercase species names but to capitalize races. There are exceptions, of course. In science fiction, the convention seems to be to capitalize most race and species names. Fantasy rarely does that, but if you're consistent, that's okay for fantasy too. This is where preference comes in.

The great J. R. R. Tolkien took an odd approach to capitalization, sometimes capitalizing Elves, Dwarves, and Hobbits but other times not. A closer inspection reveals that he usually capitalized each term when referring in a generic sense to the species as a whole and lowercased it when referring to an individual character or group, although Tolkien didn't always apply his own rule consistently. But I think we'll give the father of modern fantasy a break.

Does that mean you can just do whatever you want in regard to capitalization in your fantasy novel? Maybe. But consider how readers who are unfamiliar with you or your work might perceive a seemingly inconsistent approach to capitalization. Sticking with an easily identifiable pattern is probably best.

Capitalization in fantasy can be confusing, but fortunately, as the writer, your preference takes precedence. Stick to most real-world rules, but make your own when it feels appropriate. And if you want to leave all the fuss of capitalization rules to someone else, I'd love to help. Get in touch!

​Okay, so you've found an editor who seems as if they might be perfect for you and your project. Now what? Let's talk about how to hire them!

If you found an editor on a freelancer platform like Upwork or Fiverr, the platform will likely walk you through the next steps. But if you'd like to hire a freelancer directly, the process can be more nebulous. Every freelancer has their own onboarding process—the procedure for turning potential clients into actual clients—but here's a general overview of how it might go.

1. Message them.
To get started, send the editor an email (or use their preferred form of contact according to their website, social media pages, or whatever platform you found them on). Let them know how you found them. Tell them briefly about your project and ask for a quote. This is also a good place to ask any questions you have about the editor or about working with them.

It's usually best if you include certain essential information about your project in your initial email. This means things like genre, word count, approximate timeline, and the type of service you're looking for. If you're not sure what editorial service you need, they can help you figure that out, but it will help to let them know up front where you are in the writing process and what, if any, editing has already been done.

2. Wait for their response.
The editor will respond as soon as they're able. They should answer your questions and will probably ask a few of their own. They'll let you know if they are interested, qualified, and available to work on your project. If they're not, they may refer you to a colleague or another resource.

Most editors will ask for a sample in order to provide you an accurate quote. Some will even edit that sample for free so that you can get a sense of their editorial style and so that you can both be confident that you're the right fit for each other.

3. Send them a sample.
Following any guidelines they specify, send them a sample of your project. Be patient as they complete it and get back to you. When they do, they'll likely give you a quote for the project. Don't haggle or debate their price. However, don't be afraid to bring up any concerns. One or both of you might still have a few questions at this point, so some back-and-forth messaging is normal as you hash out the details and get comfortable with each other.

4. Get onboarded.
Assuming you both still want to move forward at this point, the editor will begin their onboarding process. This may include having you fill out a form outlining your preferences, including which style guide and dictionary you'd like them to use, or asking more questions about the history of your project and your long-term goals. They will also likely have you sign a contract and may require you to pay a deposit. It's important that you both feel safe and comfortable, so follow their directions, but let them know if you're ever confused or frustrated.

5. Relax!
Once you've completed their onboarding process and sent them your project, sit back and relax. Take a break from thinking about your project and go do something fun. The editor has everything under control, and they should contact you with any predetermined milestone updates or if they have any questions or issues.

If you've never hired an editor before, the process might seem confusing or scary, but it doesn't have to be, especially now that you have a better idea of how to go about hiring an editor and what to expect when you do. Don't hesitate to contact me with any questions!

​Professional Editing Organizations
Professional editing organizations such as ACES and the Editorial Freelancers Association are great resources. Both organizations have two options for finding editors: a member directory that allows you to search by your preferences, and a job board that allows you to create a job posting and let editors reach out to you instead of the other way around.

Writing and Editing Groups
If you belong to any writing groups, either in person or online, ask your writer friends for recommendations of editors they've worked with. This can give you not only a few names to contact but also a firsthand account of what it's like to work with those editors. If you're not yet a part of any writing groups, I strongly suggest joining a few. Facebook in particular has many groups devoted specifically to helping writers and editors find each other.

Social Media
Don't underestimate the power of social media for finding editors. Instagram, Twitter, Facebook, and LinkedIn are popular avenues. Start by following editors and other writers on your favorite platform, and you'll likely soon find yourself immersed in the writing and editing community. If you don't find anyone whose content you resonate with enough to reach out, try a few different platforms until you find the right niche.

Freelancer Platforms
You may also try searching on freelancer platforms like Upwork, Fiverr, or Reedsy. Many sites like these also give you the option of either reaching out directly to freelancers you like or posting your project and letting freelancers contact you. There's a caveat, though; while editorial services can often be cheaper on sites like these, you usually get what you pay for.

I hope you find these resources helpful as you start your search for an editor. Next month, we'll take a closer look at the process of hiring an editor. If you have any questions, I'd love to hear from you!

Experience
You'll want to hire an editor who has experience. Simply put, you want to make sure that they know what they're doing. Experience comes in many forms. If they've been operating for a significant number of years, they'll likely say so on their website or social media profiles. They might also highlight their educational background, any professional editing organizations they belong to, or a portfolio of previous work. Some editors offer sample edits so you can see their editing style in practice. All of these things give credibility to their skills.
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Genre
While some editors are generalists and claim to edit anything and everything, you'll usually want to find an editor who specializes in a specific genre or type of writing. If you write fantasy novels, you don't want to hire an editor who primarily works on business marketing copy. And if you write reference manuals, an editor whose niche is psychological thrillers is probably not the best fit for you. Often, an editor will advertise their specialties on their website or social media pages. When you reach out, make sure to specify what kind of writing you are seeking an editor for, and ask if they have experience in that area.

Service
We've talked before about the different kinds of editing. Some editors provide a whole host of editorial services, from developmental editing all the way to proofreading. Others specialize in only one or two levels of editing. If you're not sure what type of editing you need, make sure to talk with your potential editor and figure it out together.

Budget
With editing, you usually get what you pay for. While there are some common rate ranges (check out the EFA's rate chart to get an idea), freelance editors have the right to set whatever rates they deem appropriate for their business. Because prices usually depend on a project's particular needs, many editors don't post their rates publicly, so you'll need to contact them to ask for a quote.

Remember that you're also paying for their expertise, not just their time. That said, you need to find an editor that fits in your budget. If you think you've found the perfect editor for you, but you legitimately can't afford them, be honest. They may or may not be willing or able to offer you some sort of discount or promotional price, especially if you become a long-term client or refer other writers to them.

Availability 
An important aspect of hiring an editor is finding one who is available when you need them. By that, I don't mean that they answer all your emails instantly. I'm talking about project availability. Do they have enough time in their schedule to work according to any deadlines you might have? Or if they're currently booked and you have no hard deadlines, are you able and willing to wait until they have an opening? A lot of editors book weeks to months in advance, so keep that in mind when you go looking for one.

Personality 
The editor-writer relationship can be an intimate one, especially if you end up working together for an extended period of time. That's why it's important to find an editor whose personality meshes with yours and who you'll get along with. Personality can be difficult to determine if they correspond primarily or exclusively through email. But you can often tell what kind of person someone is through their written tone and communication style. When you contact a potential editor, ask yourself these questions: Are they professional yet approachable? Do they respond in a timely manner? Do they seem to know what they're talking about? Do they communicate clearly and do their best to resolve any misunderstandings? Do they seem to care about you and your project and do their best to address any concerns you might have?

Finding the right freelance editor can be challenging, but hopefully now you have a better idea of what to look for as you start that journey. And if you think that I might be the right editor for you, I'd love to hear from you!

​Here are four tips to help you overcome common barriers to concise, compelling writing.

1. Reduce filtering language
Filter words strain the action through the narrator's mind before it reaches the reader. These words, such as felt or realized, aren't bad in and of themselves. Sometimes you want to call attention to the experience of an event rather than the event itself. But filter words can distance the reader from the story if used unnecessarily. One solution is to use more concrete language focused on the action. Let's look at an example.

He saw her walking toward him. As she got closer, he realized she was crying.

In this example, the focus is on the point-of-view character's perception of what is happening. It reminds the reader that everything we experience is being filtered through him. If that's not the intention, we might rewrite it like this:

She approached him, the tears on her cheeks glistening in the lamplight.

This version not only contains fewer words but also puts the focus on the action without filtering it through the narrator's perception.

2. Use strong verbs
Strong writers use strong verbs. Letting a weak verb, such as is or would, support the action leads to a weak sentence. Instead, look for finite verbs that can handle the heavy lifting. Let's look at a few examples.

Weak: We would go to the library every Tuesday.
Stronger: We went to the library every Tuesday.

Weak: The man's victory at the competition was the result of his excellent dancing.
Stronger: The man's excellent dancing won him the competition.

Weak: There was an argument between the girls.
Stronger: The girls argued.

3. Eliminate redundancies and circumlocutions
If you find yourself writing lengthy descriptions, you are probably falling prey to either redundancy or circumlocution.

Redundancy is the needless repetition of a word, phrase, or idea. For example, an unexpected surprise is redundant because all surprises are unexpected. Similarly, saying He screamed loudly is redundant because a scream, by definition, is loud.

Circumlocution is the use of an unnecessarily large number of words to express an idea when fewer will suffice. If you have emotions that are distressing, you have distressing emotions. And if something will happen in the not too distant future, then it will happen soon.

Evaluate long passages in your writing and ask yourself if there is a simpler way to convey what you want to say.

4. Transform passive voice into active voice
When the subject of a sentence is actually the object being acted upon, that sentence is in the passive voice. You may have heard that you can determine if a sentence is in the passive voice if you can add by zombies to the end of it and still have a coherent sentence.

This is great advice for spotting the passive voice, but how do you fix it? Simple! Instead of having the action be performed by zombies, switch the sentence around so that the zombies perform the action.

Passive: The curtains were thrown open (by zombies).
Active: Zombies threw open the curtains.

Keep in mind that passive voice is useful when the person doing an action is unknown or unimportant or when you want to intentionally leave the subject out of the spotlight. But in many cases, you'll want to make your sentences active by ensuring that the subject is the one performing the action.

It's difficult to spot things like redundancies and filtering language in your own writing, but a trained editor offers invaluable assistance. If you'd like help making your writing more concise, get in touch with me. Let's make your writing stronger together!

​1. Sentence construction and length
This is one of the subtler suggestions on this list, but you can vary the sentence length and construction for each character. For instance, one character might think or speak in short, decisive statements, while another rolls on in long, complicated sentences. In my own WIP, one character tends to think in questions, conveying her uncertain, insecure nature. The other character speaks in short, confident statements, signaling a more close-minded view of the world.

2. Dialogue and word choice
Each character's dialogue can do a lot to set them apart. They might have a catch phrase or a specific way of swearing (or a complete avoidance of swear words). For more information about how to convey personality with dialogue, see my previous post on the importance of dialogue tags.

In a broader sense, your word choice for each character can also make an important difference. Do they use eloquent, fluffy words, even in their internal monologue? Perhaps they're more precise and direct. Their general disposition can be conveyed through the words you use when writing from their perspective—whether they're funny, morose, cheerful, or bitter.

3. Their focus or worldview
Each character should have a unique worldview based largely on their background. Their motivations, opinions, and emotional awareness will all contribute to their focus. What do they notice when describing things? A florist might name every flower they see along the sidewalk, while a construction worker might pay more attention to the cracked concrete.

In my WIP, one of my characters tends to notice the sky a lot, and it often has an emotional impact on her. But my other character, while oblivious to the more ethereal nature of things above, is hyperaware of what occurs around him, at his same level. It can be subtle, but I use this notion to inform my decisions about what each focuses on or ignores.

4. How they appear to others
If your POV characters interact, show one from the perspective of another. What quirks or mannerisms does character A notice about character B—that character B doesn't notice about themselves—and what does that convey to character A? This could be something as simple as character B closing their eyes every time they laugh or running a hand through their hair when they're frustrated.

One way I like to do this is to relate each character to an animal and then have their movements subconsciously mimic that animal. One of my characters often likens the other to a bird and, when describing her, uses words like flutter or perch to convey that image to the reader without overstating it.

5. Their actions
Perhaps the most obvious way to differentiate your characters is to have them react to the same situation in different ways. If a fight breaks out, one character might boldly charge into the action, while another hangs back, afraid or indecisive. Maybe one character starts the fight, and another attempts to restore peace. As you come to know your characters, you'll better understand what each of them would do in a given situation. To make each of them feel distinct, make it clear to yourself and the reader what actions are automatic for the character but also where they draw the line.

​If you're writing a novel with multiple POVs, I congratulate you. That's hard to do! But I've found that some of the subtlest details can make a big difference in how real and diverse your characters feel. That goes for non-POV characters too.

If you need someone's support as you determine how to better differentiate your characters, check out my beta critique service, which includes a character evaluation. I'd love to help, so get in touch today!

Have you ever surprised yourself? Maybe you thought you couldn't bake a soufflé, but you tried anyway, and it turned out flawlessly. Maybe you've always said you wouldn't go skydiving, but you tried it on a whim and realized you had more courage than you imagined. Or maybe, despite all the stories living in your mind, you thought you could never actually write an entire novel, but you started typing (or writing by hand) and didn't stop until you got every last bit of that story out of your brain.

We tell ourselves stories about who we are and what we can and can't do, and we often allow those stories to limit us. But the element of surprise is powerful enough to rewrite those stories. We can shock ourselves not only by accomplishing things we never even thought about trying but also by making progress on the things we've always longed to do but thought we weren't good enough to achieve. Often, one surprise leads to another. The more you amaze yourself, the more you're willing to step out of your comfort zone and grow, leading to even greater astonishment later. And you might even inspire someone else to start surprising themselves!

"Why should I hire an editor," you might think, "when I have this nifty program that checks my grammar and spelling? Doesn't it do the same thing?"

Well, no.

Technology replacing people's jobs is a reality in some industries. And people like to whisper that editing software will soon take over many types of editing done by humans. But I'm not worried that a computer is someday going to make my job obsolete. There will never be a danger of that.

After you've written a full manuscript draft and done at least some revising and editing, you'll want to enlist a few beta readers before you continue with the publishing process.

A beta reader is a type of manuscript reader who reads a (usually) late-stage version of your manuscript to evaluate big-picture elements like plot, character, and setting from the perspective of a general reader.

The best way to ensure you get the kind of feedback you're looking for is to provide your beta readers with a list of questions. Aim to start a conversation rather than stopping at simple "yes" or "no" answers. Here is a sample list of beta reader questions, divided into general categories. This is a good starting point, but you may want to add your own questions to address specific areas of concern. Let's dive in!

Intro

• Did the story grab your attention from the start? If not, why?
• Did you immediately understand where and when the story was taking place and who the story was about? If so, how?
• Did you feel the need to keep reading after the first chapter or two? If not, why?
• Is the tone established at the start of the story appropriate for the genre and audience?

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Plot

• Was the plot intriguing and complex enough to hold your attention?
• Were there any obvious logical fallacies, inconsistencies, or holes in the plot?
• Were there any questions left unanswered by the end of the story?
• Which scene was your favorite? What made it exciting?
• Was there any aspect of the story that confused you? If so, what about it was confusing?
• Was the plot predictable, or did it keep you guessing? If there was any foreshadowing, was it subtle or too obvious? Did you ever feel led astray in an unnecessary way?
• Was the conflict realistic and engaging, or did it feel forced or contrived?
• Did the climax meet your expectations? If not, why?
• Did you find the ending satisfying? If not, why?

Pacing

• Were there any parts of the story that dragged or that you found boring? If so, which ones and why?
• Were there any parts of the story that seemed to go by too quickly? If so, which ones and why? What would be gained by slowing down in these moments?
• If you could cut one scene from the story, which one would it be and why?
• Was there a good balance of description, action, and dialogue? If not, which was there too much of? Which was there too little of?

Character

• Did each character feel distinct? If not, how could the characterization be improved?
• Did you feel emotionally invested in the main character and their journey? If not, why?
• Did you understand each character's motivations? Did any character ever act out of character in a way that wasn't later explained?
• Who was your favorite character and why?
• Who was your least favorite character and why?

Dialogue

• Was the dialogue engaging?
• Did the dialogue feel stiff, or did it sound natural?
• Did each character's dialogue feel unique to them, either how they spoke or what they said? In other words, would you be able to tell who was speaking even without the dialogue tags? If not, in what way did each character's dialogue feel too similar?

This is by no means an exhaustive list of questions for beta readers, nor should such a list overwhelm your readers. Provide these questions as a guide to get your readers thinking, but don't expect answers to each and every one. And don't take any critical comments personally. Remember that the goal of all feedback is to help you improve your story. If it doesn't do that, let it go.

If you're looking for a professional beta read, consider my beta critique service. I'd love to help you make your story the best it can be.

How are you doing, writer? Answer honestly.

Are you stressed about work? Are you busy with family, church, or community commitments to the point where you feel like you have no time for yourself? Are you creatively burned-out on your current work in progress (WIP)?

I hope you are none of those things, but chances are that you have experienced one or all of these things at some point, not to mention the many other potential hardships of life. Stress is one of the greatest obstacles for a writer. Who has the mental space for creativity when the worries of life are constantly interrupting?

If you haven't already read my previous post on how to rock your daily writing habit, I encourage you to check it out and get the most out of each writing session. But today, let's talk about what to do when everything just becomes too much and you need to temporarily step away.

​​Like everyone, I have many roles. I'm a proofreader and editor with clients who depend on me. I'm a writer who's nearly finished with the first draft of my current WIP (anyone else feel like the last 20,000 words are the hardest of all?). I'm a student who's studying copyediting. I'm an athlete who runs not only to stay in shape but also for the unexpected pleasure it brings to my life. I am all these things and more.

With all this on my plate, it's no wonder that I recently became overwhelmed. I'd just finished a large proof-editing project, during which I'd noticed my creative output suffering. If you've ever spent an entire day analyzing someone else's writing (for weeks on end), you'll know how difficult it is to turn off that analytical brain to read a novel for pleasure—and how it's even more difficult to switch your brain into creative-writer mode.

My schedule for the next few months was starting to fill up with work. Although I enjoyed the work I was doing and looked forward to the work to come, I was mentally and physically exhausted. The progress on my WIP had slowed significantly; I was so close to the climax of my novel but was stuck in a scene leading up to it.

So I took a break. I visited my parents, and for a whole week, I didn't think about all the things I needed to get done when I got back. I left them all behind and, for once, let myself enjoy each moment as it came. I didn't do any editing. I didn't respond to email. I didn't study. I didn't write. I didn't even run.

What did I do instead? I went to the zoo with my parents. I swam in the pool and lay in the sun with my mom. I helped my dad replace the brake pads on my car (I use the term help loosely; I held the flashlight and handed him tools). I went to my nephew's adorable third-grade football practice. I watched a few movies. I read a book, allowing myself to simply enjoy the story. In short, I set aside the many demands I normally place on myself and decided to just . . . be.

The result? I came back utterly refreshed and ready to hit the ground running in all aspects of my life, including my writing.

Of course, I didn't just drop everything and run away for a week. I planned and prepared for it. I didn't schedule any client work during that week, and I took care of any tasks that I would have normally done that week before I left. You see, rest and refreshment don't just happen. You have to make space for them.

If you're feeling overwhelmed, you're probably not in the right frame of mind to meet your writing goals, whatever those may be. When your creativity is suffering, it can be natural to think there's something wrong with you. You tell yourself that you're not a good enough writer. You blame writer's block. You think that you just need to push through, especially if you're on a deadline.

But those are untrue and unhelpful views. You are good enough. Writer's block is just a form of resistance with an underlying cause. And pushing through simply for a deadline can result in poor quality work. My recommendation is that you stop. I'm not talking about quitting—just take a break.

Now, I know not everyone has the luxury of being able to take a week off whenever they need to. And you may have obligations that you can't take a break from, like your kids' school activities. But I bet you can find at least one day to spend on yourself—one day where you release any expectations and don't do anything you consider "work." That includes writing.

Drop the kids off at their grandma's. Ignore your email. Don't cook, unless that brings you joy. Ride your bike. Read a book for pleasure. Paint your nails. Take a walk. Color in a coloring book. See an old friend or go on a date with your significant other. Keep any plans you make loose, and go with the flow of the day. Stay in the moment, and do what feels good. And most importantly, don't write. Don't even think about your current project. I promise it will still be there tomorrow.

At the end of your break, no matter how long or short, I hope your creativity is renewed. Sometimes all we need is to get out of our own heads, take a deep breath, and approach our creative work with a fresh perspective.