Pesky Punctuation Problems

ID: A Black woman wearing a black shirt squeezes her eyes shut and presses her hands to her temples. Thought bubbles cluttered with punctuation marks come from her head.

ID: A Black woman wearing a black shirt squeezes her eyes shut and presses her hands to her temples. Thought bubbles cluttered with punctuation marks come from her head.

During the quiet week between Christmas and New Year’s Eve, I binge-watched a rom-com series called Dash & Lily on Netflix. Based on the young adult novel Dash & Lily’s Book of Dares by Rachel Cohn and David Levithan, it’s the story of two teenagers in New York City who “meet” via a red notebook strategically placed around the city. They get acquainted by writing clues in the notebook, but they don’t include their names. Dash’s name is unique and might reveal his identity, so he only provides a clue—his name is “a connector of words,” which Lily thinks is cute and intriguing. 

My English teacher brain proceeded to overthink that one. It’s actually a hyphen that often connects compound words: 

“We need to find a cat-friendly hotel.” 

“I signed up for a half-hour cooking lesson.” 

“I like spending time with my book-loving friends.” 

But I suppose a main character named Hyphen wouldn’t have been so cute. 

(Fortunately, I halted these ruminations long enough to enjoy the rest of episode three of the series, which featured an exceptional scene in which Lily, wearing her fabulous red boots, goes to an underground club on her own and dances to a Jewish punk band called Challah Back Boys.)

I hate to be a spoilsport, but there’s more to the hyphen and dash than connections. In fact, while a hyphen is a “connector of words,” dashes are typically used to set off words and phrases. Merriam-Webster states that a dash is a “punctuation mark that is used especially to indicate a break in the thought or structure of a sentence.” We writers and editors know that hyphens and dashes can be tormentors. In fact, we often curse them. When do we use them? When do we leave them out? Why do we have to keep looking them up? 

To help you sort out this pecky punctuation problem, here are some examples of the hyphen and dash compliments of Dash, one of the main characters in Cohn and Levithan’s novel, Dash & Lily’s Book of Dares.

The hyphen is a joiner of words, as you can see when Dash discusses his parents’ holiday plans: “This year I had managed to become a voluntary orphan for Christmas, telling my mother that I was spending it with my father, and my father that I was spending it with my mother, so that each of them booked nonrefundable vacations with their post-divorce paramours.” The words post and divorce work together as one word to modify the word paramours, so the hyphen is needed as a connector.

For Dash, the Strand bookstore is a necessary respite from the holidays. “Some bookstores want you to believe they’re a community center, like they need to host a cookie-making class in order to sell you some Proust. But the Strand leaves you completely on your own, caught between the warring forces of organization and idiosyncrasy, with idiosyncrasy winning every time.” Like the previous example, the words cookie and making work together as one word to modify the word class, so the hyphen connects them. Also, omitting the hyphen could cause the reader to stumble through the sentence a bit, even if only for a split second. They need to host a cookie? Oh, it’s a cookie-making class.

Cohn and Levithan also often use the em dash in Dash & Lily’s Book of Dares. This punctuation mark is the overachiever in the family—it’s versatile, though sometimes it shows up too often and does too much. When used subtly, it serves as an effective substitute for colons, semicolons, commas, and parentheses. Here, Dash describes his feelings about Christmas: 

“It was Christmastime in New York City, the most detestable time of the year. The moo-like crowds, the endless visits from hapless relatives, the ersatz cheer, the joyless attempts at joyfulness—my natural aversion to human contact could only intensify in this context.” The em dash works like a colon here, indicating that what follows the em dash will explain what came before it. Technically, a colon after joyfulness would be incorrect anyway, as a colon should be preceded by a complete sentence. 

The Strand is the foundation of this storyline, the place where the red journal first makes its appearance and initially bonds these characters. Dash loves the Strand. In this passage, note the hyphens working as connectors and an em dash politely standing in for a comma:

“I was popping back and forth between [my parents’] apartments while they were away—but mostly I was spending time in the Strand, that bastion of titillating erudition, not so much bookstore as the collision of a hundred different bookstores, with literary wreckage strewn over eighteen miles of shelves. All the clerks there saunter-slouch around distractedly in their thrift-store button-downs, like older siblings who will never, ever be bothered to talk to you or care about you or even acknowledge your existence if their friends are around …”

And here’s a confession: I had to look up some of the compound words I used in this article to confirm whether they are hyphenated or not: binge-watched, rom-com, spoilsport, split second, and pop-up. Even the pros don’t have them memorized. Merriam-Webster reassured me I’m on the right track.


ID: Amy, a White woman with dark hair and glasses smiles at the camera. She wears a magenta sweater and has a streak of silver running through her hair.

Amy Cecil Holm is Allegory Editing’s resident Line Editor, Copy Editor, and Proofreader. She draws upon decades of teaching college English to help authors polish their prose. She holds a bachelor’s degree in journalism and a master’s degree in creative writing and has worked as a journalist, technical writer, and educator. Amy has taught courses in English composition, literature, creative writing, journalistic writing, business writing, and developmental reading, among others. She has a keen understanding of grammar, punctuation, and diction and uses her careful attention to detail to help prepare manuscripts for submission and publication.

Eat Your Words: Tips on Incorporating Food Into Your Writing

ID: A wooden spoon with cooked alphabet noodles on it. The spoon rests on a bed of dry alphabet noodles.

ID: A wooden spoon with cooked alphabet noodles on it. The spoon rests on a bed of dry alphabet noodles.

Writing about food is fun, whether it’s a travel article, blog post, memoir, or cozy mystery set in a bakery. Food can function in writing in many ways. It can act as a device to help establish a sense of place, reveal background information, advance the plot, and reveal character. Writers in all genres can benefit from seasoning their prose with food details, but incorporating those details requires finesse.

Food can also be front and center, serving as the premise for the story and advancing its plot. Think of the many successful culinary cozy mystery series out there, such as Joanne Fluke’s popular Hannah Swensen books about a small-town baker and her community.

For a more literary read centered around food, check out J. Ryan Stradal’s novels, including Kitchens of the Great Midwest, The Lager Queen of Minnesota, and Saturday Night at the Lakeside Supper Club. As Stradal himself said in a 2015 interview with The Guardian, “A great writer will make us hunger for things we’ve never eaten, conjure a consuming nostalgia from a list of ingredients, and make us feel like we’re dining well as we’re reading well.”

Sometimes food is a more subtle part of a book, but that doesn’t mean it can’t play a major role. A favorite literary restaurant of mine is Olivier’s Bistro in Louise Penny’s Inspector Gamache series. It’s a warm and comforting gathering spot for the residents of Three Pines, and many key scenes are set here, with food and beverage details added to great effect. In Still Life, the first book in the series, Inspector Gamache arrives at Olivier’s for the first time and is instantly drawn to it, establishing this place as an important part of the Three Pines setting—and Gamache as a beloved character—for all the books to come:

[Gamache] made straight for the Bistro. It was easy to spot with its blue and white awnings and round wooden tables and chairs on the sidewalk. A few people were sipping coffee, all eyes on him as he made his way along the Commons.

… At the back of this room the cash register stood on a long wooden bar. Jars of licorice pipes and twists, cinnamon sticks and bright gummy bears shared the counter with small individual boxes of cereal …

The woods had been chilly and the thought of a café au lait in front of this open fire was too good. And maybe a licorice pipe, or two …

Gamache bit into a grilled chicken and roasted vegetable baguette and decided he was going to enjoy mealtimes in this place. Some of the officers took a beer, but not Gamache, who preferred ginger beer. The pile of sandwiches quickly disappeared.

Readers may be accustomed to the appearance of coffee in writing, but it’s also nice to encounter unusual food details like Penny’s licorice pipes. If only I could visit Olivier’s for some candy and a bit of eavesdropping as Gamache ponders a case.

At times, food can be a multipurpose element in writing, as in the novel Black Cake by Charmaine Wilkerson. In this story, two adult children receive a family recipe and a mysterious voice recording from their mother after her death. Here they learn about this strange inheritance for the first time:

Byron cuts open the envelope and shakes out its contents, a USB drive and a handwritten note. He reads the note out loud. It’s so typically Ma.

B and B, there’s a small black cake in the freezer for you. Don’t throw it out.

Black cake. Byron catches himself smiling. Ma and Dad used to share a slice of cake every year to mark their anniversary. It wasn’t the original wedding cake, they said, not anymore. Ma would make a new one every five years or so, one layer only, and put it in the freezer. Still, she insisted that any black cake, steeped as it was in rum and port, could have lasted the full length of their marriage.

I want you to sit down together and share the cake when the time is right.

You’ll know when.

Benny covers her mouth with one hand.

Love, Ma.

That scene reveals not only tidbits about the two siblings but important information about their parents. Beyond character, the cake is part of the novel’s premise as the siblings piece together their mother’s history and honor her request.

Aside from food’s importance in the development of the story, it also requires careful copy editing, fact-checking, and proofreading. Writers must consider many factors including spelling, capitalization, punctuation, accuracy of brand names, and geographic differences and preferences. What varieties of foods like cheese, vegetables, and herbs are used in certain parts of the world? What regions prefer wine instead of beer or coffee instead of tea? A writer must know, for example, that their American character can’t order coffee with Coffee-Mate in Switzerland; it’s banned there (and in several other countries) because it contains hydrogenated soybean and cottonseed oils.

Here are a few more interesting examples:

Is it bundt cake or Bundt cake? Bundt is a trademarked name and must be capitalized. What about gouda cheese or Gouda cheese? Actually, it’s just Gouda. Not Gouda cheese or Gouda Cheese.

Spellings of foods and food terms can easily puzzle writers. Is it cardamom or cardamon? Cardamom has been used as a breath freshener for centuries. And which of these spellings would you choose: kebob, kebab, or kabob? Merriam-Webster prefers kebab but lists kebob and kabob as variants, in that order. Writers must always consider their story’s setting and the cultural backgrounds of their characters in order to make spelling choices wisely and respectfully.

And oh, the hyphens! Do you take half and half or half-and-half in your coffee? I take half-and-half, and so does Merriam-Webster. Do you like kiwi? No—I’m afraid of most birds, but I do like kiwifruit (one word, no hyphen). Which of these is correct: black-eye-peas, black eye peas, black-eyed peas, or black-eye peas? Merriam-Webster prefers black-eyed peas and notes that they’re also known as cowpeas (one word, no hyphen). And the band’s name is Black Eyed Peas.

Whether you’re enjoying sprinkling culinary details into your story or developing a headache from proofreading them, food can play an important role in creating memorable people, places, and scenes that will satisfy your readers like a wonderfully rich meal.


ID: Amy, a white woman with dark hair and glasses smiles at the camera. She wears a magenta sweater and has a streak of silver running through her hair.

Amy Cecil Holm is Allegory Editing’s resident Line Editor, Copy Editor, and Proofreader. She draws upon decades of teaching college English to help authors polish their prose. She holds a bachelor’s degree in journalism and a master’s degree in creative writing and has worked as a journalist, technical writer, and educator. Amy has taught courses in English composition, literature, creative writing, journalistic writing, business writing, and developmental reading, among others. She has a keen understanding of grammar, punctuation, and diction and uses her careful attention to detail to help prepare manuscripts for submission and publication.

Writing Lessons from a Yoga Mat

ID: A person sits in lotus pose with their back to the camera, They’re on a deck overlooking trees.

ID: A person sits in lotus pose with their back to the camera, They’re on a deck overlooking trees.

I’m stuck.

Sitting here at a coffee shop for my regular writing time, I’ve only managed to type two short paragraphs in the past hour.

I don’t have as much time to write as I would like these days, so this space I’ve carved out is precious to me

Because this time is so valuable, I’m ordinarily hyper-focused and efficient. I don’t check social media, I don’t clear my inbox, I don’t answer the phone.

Today, though, I’m staring at my manuscript, and y’all, I’m struggling.

I’ve noodled unnecessarily with a passage I know I’m going to have to revisit anyway after I do plot revisions. I’ve spent way too much time looking up visual images when I know that I can sneak this task in at other times throughout the week. I’ve stared and stared and stared at the page.

Just as I was starting to beat myself up for my shortcomings today, I remembered my yoga teacher.

She often reminds her students that we should be proud of the (seemingly) simple act of showing up to our mats. Our balance may be off that day, our breath jagged, our strength faltering. But you know what? We showed up to our mats. That is half the battle.

The power of a regular writing practice

A regular writing practice is one of the best habits you can establish to improve your work.

For a time, I tried only writing when I was properly inspired, but that meant I sometimes went weeks or even months without writing a single word. I also tried cramming as much writing as I could into any spare minute I had. I ended up stressed out, uninspired, and constantly berating myself—never feeling like I was doing enough, no matter how hard I worked.

When I finally committed to set regular times to write, my writing practice completely opened up. And you know what? I’ve stuck with it. I protect my writing time like it’s my firstborn child. There has to be a really, really, good reason for me to cancel it.

The result is I’m happier, more inspired, and more prolific than any other phase of my artistic life. Even though I have fewer hours than ever to dedicate to my craft, I’m actually writing so much more.

Tips for sticking to a writing practice 

It’s easy to decide to set a more regular writing practice, but it’s much harder to do. Here are some tips for setting a regular writing practice and sticking with it: 

Put it in writing 

Once you decide on your new writing schedule, put it in the calendar. This makes it much less likely you’ll double book yourself and also serves as a visual reminder to keep you motivated. If you have a shared family or work calendar, it also makes it less likely someone else will co-opt that time. (Tip: If your boss can see your calendar, label it as “focus time” instead. 😉)

Resist distractions

It’s easy to find a zillion things to do to procrastinate writing, especially when you’re working on something tough, in the middle of revision drudgery, or facing writer’s block. When you’re tempted to head outside or to lunch with a friend instead of writing, or if you suddenly decide your kitchen needs a deep clean right this minute, remember the commitment you made to yourself, and stick to your plan. 

Give yourself grace

Forming a new habit is difficult. Some days will go better than others. You may find yourself noodling unnecessarily, staring at the page, or daydreaming.

When you do, don’t be too hard on yourself. Take a deep breath, refocus, and remember the wise words of my yoga teacher:

You showed up. And that’s half the battle. 


New Year's Resolutions to Support Your Writing

Image ID: A clipboard sits on a table strewn with holiday decor. On the clipboard the words "2025 goals" are written in Sharpie.

It’s that time again—when the dust has settled on the holidays, and we turn our attention to the new year. And with the new year comes new intentions.

I'm sure I'm not the only one making resolutions to finally finish that work in progress. To help you prepare yourself for success, here are some tips for setting (and reaching) your 2025 writing goals:

Assess

Take an honest look at what your manuscript needs and make a list of everything left to do. Are you truly in the polishing phase or could the characters use some further development? What about your plot—is it rock solid? Now is the time to be brutal. The more comprehensive you are with assessing what your manuscript truly needs, the better you can budget your time to get it done.

Set a deadline

Once you have a list of everything you need to do, it’s time to make a plan. Open your calendar and figure out how long you think it might take you to accomplish your goal. Set a deadline and write it down. It’s okay to be flexible; if you get a little way in and discover you’ve underestimated how long you’ll need, you can adjust. But the process of setting a deadline and working toward it is an important part of accomplishing your writing goals.

Build in wiggle room

Life happens. Work demands arise, kids get sick, computers break. Make sure your deadline includes a little grace for the unexpected.

Break it down

“Finish manuscript” is not only unspecific, it could be quite daunting. Break your larger goal into smaller ones, such as closing plot holes or refining your protagonist’s character arc. Set deadlines for these smaller goals and write them in your calendar as well.

Consider the obstacles

Historically, what has stood in your way of accomplishing your writing goals? Is it time? Physical space? Mental headspace? Write down each obstacle and brainstorm ways to mitigate it.

Set up accountability

Being beholden to another person can keep you on track. Consider finding a fellow writer to be an accountability buddy. Even the simple act of telling a friend or loved one about your goal can help.

Reach for your goals!

Good luck on your 2025 writing resolutions. Feel free to reach out to learn how Allegory Editing can help you reach your goals. And in the meantime . . . happy writing!


Image ID: Andrea, a white woman with brown, curly hair, stands in front of a tree. She wears a blue dress and is smiling at the camera.

Andrea Karin Nelson is the Founder & Executive Editor at Allegory Editing. In addition to her developmental editing work with published novelists, playwrights, and essayists, Andrea brings a unique set of experiences and skills to her editing craft. Twenty years as a writer and theater maker has developed her keen sense of story structure, plot and character development. Her plays have been commissioned and produced across the United States and performed in both English and American Sign Language. Fifteen years as a Master-Level, Certified Sign Language Interpreter has finely tuned her ear to the subtleties of language and the nuances of human interactions. And with over two decades as an educator, her teacher's heart allows Andrea to personally tailor her work with each writer. Click here to read an interview about Andrea’s journey founding Allegory. You can contact her at andrea@allegoryediting.com.

Building Tension On or Off the Page

A close up of a game of tug of war, zoomed in so all that is visible is the rope and the hands.

Image ID: A close up of a game of tug of war, zoomed in so all that is visible is the rope and the hands.

Conflict and tension are important concepts to help drive a story. Whether it’s showing a physical fight between characters or internal struggles within a character, obstacles make readers turn the page.

One way to create conflict and tension is to determine whether events take place on or off the page.

Psychological suspense, for example, can come from ending a chapter with an expectation of what a character will do, then starting the next chapter the following day. This forces readers to wait to find out what happened “off the page.”

Did they leave the note on the person’s door?

Did they confront the person they thought was following them?

Did they buy the big dog for protection? (Or the handgun?)

By forcing the reader to wait for the answer to that question, tension builds as the reader’s need to know increases over time.

Showing every event as it happens can create tension too, sweeping the reader up in the events in real time.

Step by step, we creep through the house with the person investigating a crime.

Moment by moment, we feel the tension ratchet up as the dialogue goes back and forth, leading toward a character finally saying, “I love you.”

Action by action, as a character scales the mountain, runs the race, or faces their biggest fear, the tension pulls the reader even further into a story.

Balance, however, can be tricky. Waiting too long to answer the question “did they …” can frustrate readers. But showing every single step of an event can include more information than a reader needs.

Balancing those aspects can be an effective way to pull readers through a story because they are compelled to find out what happens next.


Image ID: Elena, a white woman with a dark blonde pixie cut is wearing a black jacket and looking into the camera. She is smiling with her chin resting on her fist.

Elena Hartwell Taylor is the Senior Editor & Director of Programming at Allegory Editing. In addition to working as a developmental editor and writing coach, Elena is a published author. Her most recent novel, All We Buried, appears under the name Elena Taylor. The Eddie Shoes Mystery Series appears under Elena Hartwell. Prior to writing novels, Elena worked extensively in the theater as a playwright, director, educator, and designer. She has taught writing and theatre courses at the college/university level for more than twenty years. She holds a PhD in dramatic theory and criticism, a Master of Education with an emphasis in teaching theatre, and a BA in Mass Media Communications and Theatre Arts. For more information about Elena, you can visit her website and read her blog about authors, new books, and the writing process. You can contact her at elena@allegoryediting.com.

Procrastination

A man is sprawled face down on a couch. A laptop sits on the floor next to him. One hand is lazily placed on the keyboard.

IMAGE ID: A man is sprawled face down on a couch. A laptop sits on the floor next to him. One hand is lazily placed on the keyboard.

No matter what we call it, most writers struggle with procrastination. When we procrastinate, we might consider ourselves to be lazy. Once that thought crosses our minds, the negative internal dialogue starts, and then we’re caught in a cycle that can keep us from achieving our writing goals.

We ruminate over procrastinating, feel bad, procrastinate more, and feel worse.  

Experts say procrastination is related to the regulating of emotions, not poor time management skills. A 2013 study revealed that we often choose activities that promote “short-term mood repair” over “the longer-term pursuit of intended actions.”

Humans tend to avoid inherently unpleasant tasks, whether those tasks are difficult, boring, stressful, or scary. And let’s face it, writing is hard. Stressful. Maybe even scary. After all, we writers have a lot to say, a lot to share, and when we can’t accomplish that, we feel bad. Our emotions take over.

In those moments, organizing the holiday gift-wrapping supplies sounds better than sitting down to write.

Writing is a challenging endeavor, and not every session will be productive. As Ernest Hemingway famously said, “There is nothing to writing. All you do is sit down at a typewriter and bleed.” However, it’s important for writers to remember self-compassion, quiet the internal dialogue, and get to work.


Amy, a caucasian woman with brown hair and glasses, smiles facing the camera. Behind her is a large tree.

Image ID: Amy, a caucasian woman with brown hair and glasses, smiles facing the camera. Behind her is a large tree.

Amy Cecil Holm is Allegory Editing’s resident Line Editor, Copy Editor, and Proofreader. She draws upon decades of teaching college English to help authors polish their prose. She holds a bachelor’s degree in journalism and a master’s degree in creative writing and has worked as a journalist, technical writer, and educator. Amy has taught courses in English composition, literature, creative writing, journalistic writing, business writing, and developmental reading, among others. She has a keen understanding of grammar, punctuation, and diction and uses her careful attention to detail to help prepare manuscripts for submission and publication.

What Kindergarten Can Teach Us About the Craft of Writing

Image ID: A teacher's back faces the camera. She appears to be holding a book. A small group of children of multiple races looks at what she's holding with rapt attention.

A number of years ago, during the height of pandemic lockdown, I spent a fair amount of time eavesdropping on remote kindergarten video meetings happening in the next room. (Shout-out to the amazing Mrs. Campbell!)

It was during that time, while listening in on my son's literacy lessons, that it occurred to me what valuable lessons kindergarten can teach us adults about the craft of writing

1. The first draft is for mistakes.

My son is the type of kid who loves to make up stories but hates to write anything down unless he's absolutely confident he knows how to spell it correctly. And because a huge focus of kindergarten is learning how to put letters and sounds together to make words, it was important during that stage that the adults in his life didn't just feed him the spelling of a word every time he asked. On the other hand, we didn’t want him to get so frustrated, fearful, or nervous that he didn’t put anything on paper at all. It was a delicate balance. 

Of course, as adults we have the luxury of spell-check. But we let our perfectionism, fear, or doubt hold us back in many other ways.

Perhaps you're like my son and tend to get in your own way. You do such a good job of convincing yourself you can't write, it won't be good, no one will like it, and your ideas are crap, that you cross out or delete every other sentence and keep rewriting and rewriting. By the time you're done with that day's writing session, not only do you have nothing down on paper, but you're so discouraged you want to give up altogether.

Or maybe you're like me and you want to make sure you accurately describe the tree your protagonist climbs, so you waste an hour googling pictures and reading about the textural nuances of willow tree bark.

The desire to get your details, your word choice, your story, and your plot exactly right is a great instinct. It's just not what a first draft is for.

A first draft is for mistakes.

You'll have plenty of opportunities to perfect it later. That's what rewrites are for. The first draft is for letting your creativity flow free and unencumbered. It's for allowing yourself the permission to get it wrong.

My son's teacher used the concepts of a supported release of control and inventive spelling to help kids avoid getting in their own way during writing time. She taught them, “You can do this, you have the tools, and if you get it wrong, that's okay—there will be time to fix it later.”

For our purposes, I suggest a freewrite exercise. A freewrite is where you set a timer and write without stopping. You can do this with or without a writing prompt (a phrase or picture to jump start your thought process). I like to do 20-30 minutes, but you can always start smaller and work your way up. Begin writing and don't stop until the timer goes off. No crossing out or erasing or hitting the delete button or going back and circling things and making notes in the margins. Just keep writing. If you get stuck, just write "I'm stuck, I don't know what to write" until you get unstuck. You can always make a note in parentheses to yourself to fact check something later, but don't stop or spend time dwelling on it—and absolutely NO GOOGLING!

When the timer goes off, go back and read your work. Fix things, change things, and research things. You may find you're in a groove and want to keep going. If that's the case, do it. There's plenty of time to rewrite later. This brings me to number two.

2. When you're done, you've just begun.

One morning, as I walked by my son's room, I heard his teacher offer this singsongy aphorism with classic kindergarten teacher enthusiasm. The class had just finished an independent activity, drawing a picture and writing a simple sentence to go with it. She reminded them that now it was their job to go back and add more details, check their spelling, and correct any upside down or backwards letters.

If I were only allowed to give a single piece of advice to writers, I would break out my best kindergarten teacher voice and sing them Mrs. Campbell's cheerful reminder: “When you're done, you've just begun.”

One of the most common mistakes I see with newer writers is a lack of understanding of the work required to get something publication ready or query ready. It's not uncommon for authors to complete dozens of rewrites of a single manuscript.

After your initial ideas-on-the-page draft—and after you take a beat to celebrate that huge accomplishment—that's when you gotta really roll up your sleeves and get down to it.

Here are some things to look for as you dig in to rewrites: 

Is your plot well formed?

  • Does it have any holes?

  • Is it believable within the world of your story?

Are your characters fully developed?

  • Do they have clear and strong objectives, obstacles, and stakes?

  • Are the character arcs well formed?

  • Do the characters change in some way by the end of the story?

  • Are the relationships between characters clear?

Then there’s your setting.

  • Are your descriptions vivid?

  • Do they evoke a sense of place?

  • Do you use all five senses in your descriptions?

  • Are there enough rich details to allow the reader to picture the setting?

And of course, dialogue.

  • Is the speech of each individual character distinct?

  • Does the dialogue move the story forward, or is it laden with too much exposition?

  • What does the way the characters speak, and what they say, reveal about them—and is this what you intend to show?

We can’t forget mechanics.

  • Have you checked for tense errors?

  • Is the point of view consistent?

  • Have you scanned for errors in spelling, punctuation, and grammar?

Before you freak out, take a deep breath with me. You do not have to tackle this all at once, and you do not have to tackle it alone. Address one element at a time before moving on to the next, and when you’ve polished it as much as you can on your own, bring in an outside eye for feedback.  

The point I want you to take away is not a panic attack. Or that finishing your first draft isn't a huge accomplishment. Because it is! Not many people finish a complete draft of a manuscript. But a whole lot fewer people complete their first draft and persevere, putting in the work to rewrite and polish the manuscript.

What I do want to impress upon you is that it’s a lot of work. This is a marathon, not a sprint. I think knowing and mentally preparing yourself for that can go a long way toward setting yourself up for success.

As Mrs. Campbell might say: Alright class, this concludes today’s lesson. Now get out there and get writing!


Image ID: Andrea, a white woman with brown, curly hair, stands in front of a tree. She wears a blue dress and is smiling at the camera.

Andrea Karin Nelson is the Founder & Executive Editor at Allegory Editing. In addition to her developmental editing work with published novelists, playwrights, and essayists, Andrea brings a unique set of experiences and skills to her editing craft. Twenty years as a writer and theater maker has developed her keen sense of story structure, plot and character development. Her plays have been commissioned and produced across the United States and performed in both English and American Sign Language. Fifteen years as a Master-Level, Certified Sign Language Interpreter has finely tuned her ear to the subtleties of language and the nuances of human interactions. And with over two decades as an educator, her teacher's heart allows Andrea to personally tailor her work with each writer. Click here to read an interview about Andrea’s journey founding Allegory. You can contact her at andrea@allegoryediting.com.