Developmental Editing Checklist

Gary Smailes | 2 November 2025

Set Up Your Developmental Edit

Good edits start before a single comment lands in your file. Set the goalposts. Give your future self, or an editor, a clear brief. The work gets sharper and the process hurts less.

Define your goals

Pick one primary aim and two secondary aims.

• Structure. Do scenes and chapters build in a clear causal chain. Does the argument progress logically.
• Character or thesis clarity. Do motivations make sense. Is the central claim defined and supported.
• Pacing. Where does energy drop. Do turns arrive in time.
• Market fit. Does the book meet core reader expectations for the genre or category.

Write one sentence for each aim. Tape it above your desk. Every note you gather should serve those aims.

Build a briefing pack

Keep it short, focused, and easy to skim.

• Synopsis, 1 to 2 pages. Spoilers included. State the premise, the turning points, the resolution, and the lesson or takeaway.
• Outline. A chapter list with one line per chapter. For a reverse outline, read each chapter, then write its purpose, conflict, and change.
• Cast or key concepts. For fiction, list main characters with roles, wants, and ages. For nonfiction, list core concepts or modules with the problem each solves.
• Short author bio. One paragraph with relevant background. Add your goal for the project, trade submission or self-publishing.

Mini exercise. Open a fresh document. In 20 minutes, write the full book from start to finish in 300 words. No style. No quotes. Only the bones. That summary reveals gaps fast.

Clarify audience and comps

Name the primary reader in one line. Age range, interests, and what the reader hopes to gain. Pick 3 to 5 comparable titles from the last five years. Match tone, topic, or structure.

Then finish this sentence for each comp. Readers who loved [Title] will expect [feature]. My book delivers [your version of that feature] and differs in [one meaningful way].

Example for fiction. Readers who loved The Poppy War expect a driven protagonist and escalating moral cost. My book keeps the moral stakes and shifts the setting to a frontier city with a tighter timeline.

Example for nonfiction. Readers who loved Atomic Habits expect clear models and small steps with proof. My book offers a model for creative routines with case studies from visual artists.

Set constraints

Constraints save drafts.

• Target word count by genre. Examples, romance 70–90k, thrillers 60–80k, epic fantasy 90–120k, upmarket contemporary 80–100k, prescriptive nonfiction 50–70k, memoir 70–90k.
• Must-keep elements. Non‑negotiables like a dual timeline, a specific point of view, or a case study that anchors the thesis.
• Deal-breakers. Topics or portrayals you will avoid. Lines you will not cross for tone or content.
• Timeline. When feedback starts and when revision ends.
• Publishing path. Trade or self-publishing. The path shapes structure and length choices.

Write these on the first page of your pack. Partners will make better calls with this context.

Prepare working files

Make the text easy to read and mark up.

• File format. .docx in a single file. Chapters start on new pages.
• Font and layout. 12 pt, double spaced, standard margins. Page numbers on.
• Scene breaks. Use a clear marker such as a # on a blank line.
• Styles. Use one Heading style for chapter titles. No manual formatting tricks.
• Comments on. Track Changes for editorial rounds.

Start a simple style sheet. One page with decisions like:

• Names, spellings, titles, and nicknames.
• Place names and invented terms with preferred capitalization.
• Hyphenation. Email vs e‑mail, time line vs timeline.
• Numbers. Numerals vs words, dates, time, and units.
• Spelling choice. UK or US.
• Formatting choices. Ellipses, dashes, quotes, italics for foreign words.

Update the sheet during revision. It becomes your memory when the draft grows.

Write the right questions

Strong questions guide the edit. Pick five. Keep them big.

Fiction examples:

• Where does the story sag.
• Does the protagonist drive the plot through choices.
• Are motivations and stakes clear by the midpoint.
• Which subplot belongs, which one weakens focus.
• Does the ending resolve the central promise and earn the emotion.

Nonfiction examples:

• Is the thesis simple and bold.
• Does each chapter advance the argument without repeats.
• Where does the reader need proof or examples.
• Do exercises or frameworks land at the right time.
• What section feels off-topic or thin.

Add one open slot. Ask the editor to flag surprises you did not anticipate.

Decide scope and follow-ups

Pick the level of review and the deliverables.

• Full manuscript vs partial. A partial works for early structure checks, for example the opening 50 pages plus a synopsis. A full review suits a mature draft.
• Editorial letter only vs letter plus margin notes. Letters give strategy. Margin notes show exact pressure points and recurring habits. Many writers prefer both.
• Meetings. One call to kick off. One debrief to walk through the letter. Agree on length.
• Recheck. A mini review of revised pages helps confirm fixes. Define pages and timeline before work begins.

Sample request message:

Hello [Name],
I am seeking a developmental edit on [Title], [genre/category], [word count]. I am after feedback on structure, pacing, and market fit for [audience]. I am including a 1–2 page synopsis, chapter outline, and style sheet. I prefer an editorial letter plus margin notes on the full manuscript, with one debrief call and a short recheck of the opening chapters after revision. My timeline is [dates]. Please advise on availability, quote, and deliverables.

A tidy setup invites strong notes and fewer surprises. You will leave the edit with a plan, not a headache.

Structure and Cohesion (Fiction and Nonfiction)

Structure turns pages. Cohesion keeps trust. Readers sense wobble early. Tighten the spine now, before prose polish tempts you off the job.

Core promise

Name the promise in one sentence. Premise or thesis plus the change a reader expects.

• Fiction template: A [character] must [goal] before [ticking threat], or [cost].
• Nonfiction template: This book helps [reader] achieve [outcome] by [method].

Examples:

• A grief‑struck chef must win a brutal pop‑up contest before the restaurant closes, or the staff loses work.
• This book helps new managers run 1:1s that drive performance by using three scripts and a weekly scorecard.

Test the promise on a friend. If the response sounds like, “I want that,” the hook holds. If confusion follows, sharpen verbs and stakes.

Mini exercise: write the promise on a sticky note. Tape it to the monitor. Every chapter must serve that promise.

Macro architecture

Strong books follow a shape. Name the major beats. Check the chain between them.

Fiction:

• Inciting incident. The day normal life breaks.
• Midpoint reversal. A turn that changes the plan.
• Crisis. A no‑win choice.
• Climax. The decisive action.
• Resolution. Consequence and new normal.

Do scenes trigger one another. A causes B, B forces C. Episodic sequences feel random. Causality builds momentum.

Nonfiction:

• Logical table of contents. One path through the problem.
• Progressive learning. Concepts build from simple to complex.
• Chapter objectives. One clear outcome per chapter, stated up front.

Mini exercise: write a one‑line beat sheet. Five lines for fiction. One line per chapter for nonfiction. Tape those next to the promise. Gaps show fast.

Throughlines

Throughlines keep attention steady. Track them in a quick grid.

Fiction:

• Goal. What the protagonist wants.
• Motivation. Why the goal matters now.
• Conflict. Who or what stands in the way.
• Alignment. Character change and plot events feed each other.
• Subplots. Each thread pressures the central story or gets cut.

Example: if the love subplot never complicates the heist, the thread steals time without paying rent. Fold that energy into the main scheme or drop the thread.

Nonfiction:

• Thesis support. Each chapter advances the central claim.
• Evidence placement. Proof lands where the reader needs confidence.
• Case studies. Specific stories that model the behavior or result.

Example: a habit model appears in chapter 2. Proof waits until chapter 7. Readers drift. Move proof to chapter 3 with one clean case.

Mini exercise: color‑code the manuscript. One color for the central goal or thesis. One for each subplot or support pillar. Pages without color mark drift.

Stakes and escalation

Every turn should raise consequences. New choices should cost more than prior choices. The middle needs pressure, not padding.

Fiction:

• Personal stakes, social stakes, and public stakes climb together.
• Reversals come from choices, not random storms.
• Setup pays off. Foreshadowing earns the twist.

Nonfiction:

• Each chapter answers a new reader question and introduces a tougher one.
• Examples scale up. From simple wins to complex cases with trade‑offs.
• Early promises resolve before the finale, not during it.

Example pair:

• Chapter 5 of a thriller ends with a clue. Chapter 6 should force a dangerous follow‑up, not a coffee chat.
• Chapter 5 of a leadership guide ends with a weekly meeting plan. Chapter 6 raises the risk, like handling pushback or mixed incentives.

Mini exercise: add a margin note at the end of every scene or chapter. “Because of this, the next chapter must address X.” If the next chapter ignores X, fix the handoff.

Timeline integrity

Time breaks trust faster than typos. Track chronology, seasons, scenes per day, ages, and dependencies.

Tools that help:

• A dated scene list with weekday and time stamps.
• A calendar for the book’s period, with holidays and daylight hours.
• A simple age chart for characters or a milestones chart for case studies.

Spot checks:

• Travel math. Distance, transport, and recovery time.
• Injuries and healing windows.
• Academic or fiscal calendars.
• Tech availability for the year and place.

Mini exercise: write three dates and times into early chapters. Then echo those anchors later. Readers relax when time feels solid.

Redundancy audit

Repeats blur intent. Audit the draft for duplicate beats or arguments.

• Print a list of scenes or sections. Write the purpose next to each entry in five words or fewer.
• Circle repeats. Combine or cut.
• Merge chapters that chase the same outcome.
• Remove beloved material that steals focus from the promise.

Examples:

• Fiction. Three scenes show the hero as kind. Keep one, move one to a payoff moment, drop one.
• Nonfiction. Two chapters argue for sleep. Fold proof into one chapter. Use the extra chapter for application.

Mini exercise: set a target, for example reduce by eight thousand words. Start by hunting repeats. The book tightens without pain.

Open issues list

Leave no loose ends. Build a running list while reading.

• Plot holes. Missing causes. Missing consequences.
• Unanswered questions a reader keeps asking.
• Missing bridges between ideas or locations.
• Research gaps, permissions, or citations to confirm.

Mark each item as fix now, research, or park for later. Tackle fix‑now items before line work.

Example entries:

• Who paid for the lawyer in chapter 14.
• Source for the 62 percent retention claim.
• Add a scene that shows the antagonist’s plan before the reveal.
• Need a bridge from values to behaviors between chapters 3 and 4.

Finish this pass with three documents. A one‑line promise. A beat sheet or table of contents with objectives. A short issues list with owners and dates. Structure stops sag. Cohesion keeps faith. Your future reader feels the difference.

Pacing, Scenes/Chapters, and Reader Flow

Pacing moves readers. Scenes set the tempo. Flow keeps orientation so attention never slips.

Scene purpose check

Every scene or chapter needs three things: a goal, friction, and a change.

• Goal. What someone wants right now, or what the reader should learn.
• Friction. A person, rule, or constraint in the way.
• Change. Win or loss, or new knowledge which shifts the next move.

Fiction example:

• Goal. Steal the file.
• Friction. A security guard arrives early.
• Change. The thief leaves without the file, learns the guard’s name, and gains a new lead.

Nonfiction example:

• Goal. Teach a weekly planning method.
• Friction. Conflicting incentives across teams.
• Change. Reader leaves with a checklist, plus one warning about hidden costs.

Mini exercise: write G, F, C in the margin for every scene or section. Fill each box in one line. Blank boxes signal a cut or a rewrite.

Entrances and exits

Start late, leave early. Build around the beat, not the commute.

Openings that work:

• Mid-action. Hand on the doorknob, phone already ringing.
• Mid-thought. A decision about to land.
• Mid-argument. Words already sharp.

Endings that work:

• A resolved beat. The file is gone, time to regroup.
• A hook. A reveal, a choice due, a clock in motion.

Fiction quick fix: delete arrivals, parking, coffee orders. Enter on the first line which matters to the scene’s goal.

Nonfiction quick fix: skip throat clearing. Lead with a question, a result, or a number readers care about.

Mini exercise: highlight first and last lines for each unit. Ask two questions. Does the first line drop me into motion. Does the last line either close the loop or press me forward.

Exposition control

Info dumps slow the pulse. Deliver context when the reader needs it, not three chapters early.

Guidelines:

• Keep background in bite sizes. Two lines now, two later when stakes rise.
• Prefer action or dialogue for facts which shape choices.
• Use summary sparingly, as a bridge between vivid moments.

Fiction example: instead of three pages on a war from twenty years ago, slip one line in a tense exchange, then show a medal in a drawer when it hurts.

Nonfiction example: move definitions to sidebars or figures, and keep the main text on decision paths and outcomes.

Mini exercise: scan for any paragraph with more than three sentences of pure information. Halve it. Move half to later, or delete.

Microtension

You need curiosity on every page, even quiet ones. Microtension is small stress which pulls the eye to the next line.

Tools that help:

• A question in the narration. What is she hiding from HR.
• A mismatch between words and body language.
• A deadline nearby, not yet mentioned to others.
• In nonfiction, a test, a counterexample, or a trade-off which forces a choice.

Fiction example: a date goes well, yet the server keeps glancing at the door. Why.

Nonfiction example: a budgeting rule saves money, yet erodes trust in one scenario. Cue a case which forces readers to weigh values.

Mini exercise: add one of these to every page. A question mark. A contrast word such as but, except, although. A small withheld detail which pays off within a scene.

Rhythm variety

Monotony puts readers to sleep. Vary length and mode.

• Alternate short and long scenes.
• Mix dialogue, action, reflection, and summary.
• In nonfiction, rotate between concept, example, tool, and application.

Pattern ideas:

• Three quick beats, then one longer scene to absorb impact.
• A dense chapter of analysis, followed by a page of Q&A to reset.

Mini exercise: list word counts for all scenes or sections. Label S, M, or L. Avoid long runs of a single size. Adjust by trimming middles, splitting scenes, or merging thin ones.

Transitions

Smooth handoffs prevent whiplash. Signal shifts in time, place, or topic with a bridge.

Fiction moves:

• End a scene with a choice which implies the next location.
• Open with a line which anchors time. Friday, sunrise, two hours before the vote.
• For POV shifts, state the name in the first clause, then a sensory cue.

Nonfiction moves:

• Close a section by naming the next question.
• Open chapters with one clean topic sentence which links to the last outcome.
• Use subheads which label steps, not clever phrases.

Mini exercise: write a one-line bridge at the end of every chapter. Because X now matters, we move to Y. Keep it in the draft until flow feels solid.

Visual accessibility

Readers read with their eyes and their schedule. Help them skim, pause, and resume without losing thread.

• Short paragraphs. One idea per block.
• Subheads which orient, at regular intervals.
• Bulleted lists for steps, pros and cons, or options.
• In nonfiction, figures and tables for data, not buried in prose.
• White space around key moments or equations.

Spot check:

• Open to a random page. If the spread looks like a wall, break paragraphs and add subheads.
• If a table would save 200 words, add a table.

Mini exercise: choose one dense chapter. Reformat for a busy commuter. Add subheads, pull quotes, a summary box, and a one-minute action step.

Tight scenes plus clean exits, controlled context, steady microtension, varied rhythm, clear bridges, and friendly pages. Put those in place and readers stay with you, page after page.

Character, POV, and Voice (or Authorial Stance)

Characters move the book. Point of view frames meaning. Voice earns trust. Nail these, and readers lean in.

Protagonist agency

Give your lead a clear desire, hard obstacles, and choices that cost.

• Desire. Name it in one sentence. Win the case. Save the farm. Prove the thesis.
• Obstacles. People, systems, nature, inner doubt. Pressure, not convenience.
• Choices. Real stakes, not a single obvious route. Each option should close one door and open another.

Watch for fixes by coincidence. Luck is poison. If a storm delivers the clue or an expert solves the puzzle offstage, agency falls flat.

Fiction check: list three decisions your lead makes in the first third. If two are reactions without choice, redesign those beats.

Nonfiction check: define the reader’s goal in the chapter. State the friction that blocks progress. Offer options with trade-offs, not one silver bullet.

Antagonistic forces

Opposition gives shape to desire. A person, a system, or the self, each with a logic that holds.

• Person. A rival wants a different outcome for a reason that feels human.
• System. Policy, economics, or culture pushes back with predictable rules.
• Self. Flaw, fear, or wound derails progress at the worst time.

Give the antagonist a day in court. If the villain is evil because evil, readers shrug. If the boss shields a broken process to protect jobs, pressure feels real.

Exercise: write one paragraph from the antagonist’s view. Not to excuse, to clarify intent. Then plant one action that shows this intent before the midpoint.

Cast design

Every named character needs a job in the story. Role, function, and a sliver of change.

• Define function. Mentor, foil, skeptic, enabler, temptress, witness.
• Avoid duplicates. Two mentors with the same advice clog the lanes.
• Reduce token roles. Representation is good, caricature is not. Give depth, give agency, give consequences.

Quick tool: index cards. Name on top, function under it, one beat of growth at the end. If two cards match, merge or drop one.

Nonfiction version: treat concepts and sources like a cast. Each key term or case study needs a unique function. No duplicate chapters teaching the same lesson with fresh decoration.

POV strategy

Point of view is a contract. Choose who holds the camera, decide distance, stay steady.

• Pick viewpoint. First person for intimacy and bias. Close third for focus with room to breathe. Distant third for chessboard scope. Second person for instruction or effect.
• Set tense and hold it. Past is flexible and familiar. Present gives immediacy and traps sloppy shifts.
• Choose psychic distance. Inside the skin, we get raw thought and sensation. One step out, we watch and infer.

Rules for shifts:

• One viewpoint per scene, with clear anchors in the first line.
• Signal time jumps early. A simple stamp, yesterday, three months later.
• For multi-POV books, map rotation. Do not hop inside a paragraph because you want one stray thought from someone else.

Exercise: print one chapter. Circle every thought word, knew, wondered, noticed. If those words jump across heads, you have a leak. Patch it or split the scene.

Interiority and dialogue

Blend thought, feeling, and action. Dialogue should carry subtext and push change, not recap the plot.

• Thoughts serve decisions. A page of rumination with no action plan drains momentum.
• Body language works harder than tags. A pause, a glance at a watch, a hand that keeps folding a receipt.
• Avoid on-the-nose speech. Real people dodge, hint, joke, and withhold.

Fiction example:

On-the-nose:

“I am angry you missed dinner, because you do this every week.”

Better:

“You kept a table?” He checks his phone. “Client call ran long.”

“Sure. They lock up at eleven.”

Nonfiction example:

On-the-nose:

“This chapter defines cognitive load theory in detail.”

Better:

“Your team forgets steps after long meetings. Here is why, and what to do next.”

Exercise: mark three places where dialogue explains backstory. Move the facts into action or a visible object. Keep the talk tight.

Voice and tone

Voice is the fingerprint of the book. Tone is the mood for this audience.

• Choose vocabulary and sentence length that match reader expectations.
• Keep a stance, dry, wry, urgent, or calm, and stick with it.
• Kill clichés and mixed metaphors. Fresh beats fuzzy every time.
• Watch jargon. Use it with purpose, define once, then show in context.

A quick test: read a page aloud. Hear the rhythm. If every line sounds the same, vary length. If moral outrage pops in only when you rant on Twitter, rein it in. Consistency builds trust.

Tool: a mini style sheet. Spelling choice, UK or US. Key terms. Preferred labels for groups. A note on profanity or slang limits. Pin it to the wall.

Nonfiction stance

You play a role on the page. Expert, guide, or peer. State the role and honor its limits.

• Expert. Lead with evidence, methods, and boundaries. Cite sources in-line or in notes. Say where studies stop. Flag risks.
• Guide. Show steps, mistakes to avoid, and expected effort. Share experience, not guarantees.
• Peer. Tell the truth about what worked for you, and what failed. Offer options, not commands.

Ethics matter. Health, legal, or financial topics need disclaimers and referrals. If a case would reveal a client, change details and say so. Do not present opinion as fact. Readers know the difference.

Structure tip: open each chapter with a promise. Name the outcome. Then walk through a simple path, teach one tool, offer one test. Close with next steps or a reflection.

Exercise: write your stance in one line. “I am a guide for first-time managers.” Tape it to your monitor. When a paragraph drifts into guru mode, cut or soften.

Quick diagnostic checklist

• Does your lead drive action through choices with cost.
• Do opposing forces press from more than one direction, with motives that hold.
• Does each supporting role carry a clear function, free of duplicates.
• Does POV stay consistent in tense and distance, with clean shifts between heads and time.
• Do thoughts, feelings, and dialogue work together to move each scene.
• Does the voice feel steady and suited to the reader, with clean language and no clichés.
• For nonfiction, does your stance read as credible, kind, and responsible.

Tighten these lines, and structure starts to click. Plot breathes. Argument lands. Readers follow you anywhere.

Worldbuilding, Research, and Continuity

Readers forgive rough edges in prose. They do not forgive a broken world. Build rules, honor them, and keep receipts for your facts.

Rules of the world

Set constraints early. Make them visible on the page.

• Magic has a price. Tech needs power, maintenance, and time. Economies restrict choice.
• Show consequences when rules bend. A shortcut should bite later.

Example, fantasy:

• Rule: one spell per day per mage.
• Break: an extra spell works, then memory loss hits mid-fight.
• Payoff: the apprentice stops gambling with spells and trains.

Example, thriller:

• Rule: encrypted phones require a hardware key.
• Break: a hacker fakes access in chapter five.
• Payoff: the trace leads to the wrong city and costs a colleague.

Try this:

• List three core rules of your world on a card.
• For each, write one visible cost, one loophole, one consequence for abuse.
• Place a consequence on the page before the midpoint.

Nonfiction version:

• Define your operating context. Industry norms, sample size limits, budget caps.
• State one constraint per chapter. Show how a choice respects or tests it.

Setting as function

Place affects choices. Mood comes from details that matter to the characters, not wallpaper.

• Put scenes where pressure rises. A confession in a church lobby feels different from a confession in a parking garage.
• Use sensory detail with purpose. Temperature, sound, and light shape behavior.

Quick passes:

• Cut generic weather unless storms alter plans.
• Replace vague décor with one telling object. A cracked trophy says more than ten adjectives.

Nonfiction:

• Use location to teach. A warehouse walkthrough explains a supply chain better than a paragraph of theory.
• Pair data with place. A chart on pollution sits beside a scene at the river.

Exercise:

• Write two lines on how the setting blocks the easy path. Then force your character to pick a harder route.

Continuity bible

Memory fails during revision. A simple bible saves you.

Build a one-tab spreadsheet:

• Columns: Item, First seen, Description or rule, Later reference, Status.
• Fill with names, spellings, ages, birthdays, units of measure, streets, school calendars, moon phases if relevant.
• Log your UK or US spelling choice. Note hyphenation for recurring terms.

Add a timeline:

• Date or chapter by chapter grid.
• Include travel time, sleep cycles, and season markers.
• Note holidays and school breaks. Readers remember those.

Audit trick:

• Highlight every number in your draft. Distances, prices, scores, dates.
• Verify each with a source or your own map.

Research accuracy

Treat sources like load-bearing beams.

• Quote from originals, not memes or summaries.
• Record title, author, publication, URL or DOI, and access date.
• Keep a permissions list for lyrics, poems, images, long quotes, and epigraphs.
• Use trademark names correctly. Kleenex as a brand, tissue as the generic. When in doubt, check the owner’s site.

Flag uncertainties:

• Use TK in the manuscript where a fact needs verification.
• Add a comment with the question you need to answer.

Numbers pass:

• Circle stats, percentages, and claims of first or best.
• Find two independent sources with clear methods.
• If methods look weak, qualify the claim or drop it.

Cultural representation

Write people, not props. Respect lived experience.

• Give depth and purpose to every character. Role in plot, desires, risks, consequences.
• Avoid phonetically written accents. Rhythm and word choice signal voice without mockery.
• Question your lens. What parts of this culture are you focusing on. Why. What harm lands if you oversimplify.

Good habits:

• Hire sensitivity readers with relevant expertise. Pay them. Credit them with permission.
• Offer context for historical or cultural practices. Avoid exotic labels for daily life.

Nonfiction:

• Get consent for case studies. Anonymize details where needed, and say so.
• Share quotes with sources before publication when stories involve risk. Document approvals.

Checklist prompt:

• Does representation extend beyond food, clothes, and trauma.
• Do characters from a group disagree with each other, not serve as a single voice.

Plausibility checks

Story logic should match the real world where it intersects.

• Travel. Check maps, flight durations, layovers, traffic at time of day.
• Injury. Verify recovery windows. A concussion changes plans for days. A broken femur takes months.
• Law and procedure. Miranda, warrants, evidence chain, jurisdiction. Guessing invites letters from experts.
• Timelines. Pregnancies, court cases, drug trials, construction permits. Long arcs need slack.
• Professions. Pilots, surgeons, teachers, coders, cops. Tools, jargon, schedule, and constraints.

Quick system:

• Create five rows on a page. Time, distance, money, medicine, law.
• For each major beat, jot a one-line plausibility note.
• Where a note wobbles, pick one of three paths. Research and align. Insert a story-based workaround. Or change the beat.

Example fix:

• Your hero flies New York to Tokyo and attends a board meeting on arrival. Adjust the schedule, or show the cost. Nausea in the elevator. Missed nuance in a vote.

Risk flags

Protect readers, sources, and yourself.

• Libel and privacy. Real people, identifiable businesses, and accusations need proof. Truth helps when you have evidence. Opinion needs clear framing. Change names, but know that change alone does not remove risk.
• Medical, legal, and financial advice. Include disclaimers. Point to authoritative resources. Suggest consulting a licensed professional for personal cases.
• Dangerous how-to. Do not include steps for harm. Summarize risks, describe safeguards, and steer readers to safe alternatives.
• Permissions and releases. Written approval for interviews, photos, and private materials. Store signed forms.

When stakes feel high, bring in a lawyer or subject expert. Budget time for this step.

Quick diagnostic checklist

• Do rules exist, with costs for breaking them, and do those costs hit the page.
• Does setting block easy choices and shape mood through specific detail.
• Does a bible track names, ages, units, and a dated timeline, with consistency checks on numbers.
• Do quotes, stats, and trademarks trace to solid sources, with permissions logged.
• Does representation show depth, agency, and variety within groups, supported by sensitivity reads where relevant.
• Do travel, injuries, procedures, and timelines line up with real-world constraints.
• Are libel, privacy, and dangerous advice risks reviewed by experts, with disclaimers and releases in place.

Hold this line, and your world feels sturdy. Readers relax. Then they lean in.

Market Fit, Positioning, and Revision Plan

Your book needs a home. Market fit names the home and gives readers a map. Positioning tells a bookseller where to shelve your work. A revision plan turns fog into steps.

Genre conventions

Readers arrive with quiet contracts. Keep those promises, or break them on purpose and with notice.

• Romance: central love story, happy or hopeful ending, heat level signaled early, dual POV common, 70–90k.
• Thriller: high-stakes threat, ticking clock, tight cause-and-effect, clean clues, 80–100k.
• Fantasy: clear rules for power, meaningful cost, quest or political drive, 90–120k.
• Memoir: a defined slice of life, strong voice, reflective spine, 70–90k.
• Business or self-help: problem, framework, steps, case studies, 50–75k.

Quick test:

• List three must-haves for your category.
• Tag the scenes or chapters that deliver each promise.
• Note any deliberate deviations. Signal those early in the text or jacket copy.

Word count check:

• Write the current total on a sticky note.
• Compare to category norms.
• Over the mark, expect trims. Far below, plan new beats or examples.

Unique value proposition

Hook, not hand-waving. Say in one breath why a reader would choose this book.

Try one of these templates:

• Fiction: When [protagonist] faces [problem] in [setting], failure will cost [stakes], so [key choice] must land.
• Nonfiction: For readers who want [outcome], this book offers [approach] through [method], leading to [result].

Back-of-book promise:

• Name the emotional payoff for fiction.
• Name the specific skills, insights, or outcomes for nonfiction.

Sanity check:

• Read the hook to a friend who reads the category.
• Ask for a guess about genre, tone, and stakes or outcomes.
• If the guess drifts, sharpen the nouns and verbs.

Competitive landscape

Your book lives on a shelf with neighbors. Know the neighbors.

Pick three to five comps from the last five years:

• Same audience and category.
• Similar vibe, length, or topic.

Write two sentences per comp:

• What aligns.
• Where your book takes a different path.

Example:

• Comp: The Silent Patient. Alignment, psychological suspense with a twist. Difference, a rural clinic and a multi-POV mosaic.
• Comp: Atomic Habits. Alignment, small behavioral shifts. Difference, focus on remote teams with field-tested exercises.

Adjust based on gaps:

• If comps over-index on case studies, add one personal story for voice.
• If comps lean dense, add visuals, summaries, or checklists.

Reader journey

Readers want a satisfying arc. Map that arc on paper.

Fiction:

• Promise in chapter one.
• Escalation in the middle.
• A decision near the end that honors earlier setups.
• Emotional aftertaste that matches genre.

Nonfiction:

• Clear learning path.
• Each chapter solves one problem.
• Recaps, exercises, or checklists at logical points.
• A final chapter that consolidates and points to next steps.

Five-minute audit:

• Write the first and last sentence of each chapter in a column.
• Scan for a build, not a wobble.
• Add or move beats where energy dips.

Cut and expand decisions

Revision loves a triage board. Use colors or letters if you like, forget perfection.

• Keep and polish: scenes or sections that drive the core promise.
• Deepen: high-value moments that need clearer stakes, better turns, or sharper examples.
• Merge: overlapping beats that repeat outcome or message.
• Cut: pretty paragraphs that serve neither plot nor thesis.

Bridge work:

• List three foreshadowing seeds for major payoffs.
• Add one echo of the core motif every three chapters.
• Where a leap feels abrupt, add a one-line beat to show cause.

Sample entry:

• Chapter 6, community meeting. Keep. Add a direct challenge from a skeptic, show pressure on the protagonist’s plan.
• Chapter 9, second training anecdote. Merge with chapter 7 case study, pull one data point forward.

Prioritised to-do list

Big rocks first. Small rocks after.

Sort tasks by impact:

• Structure. Order of events, chapter sequence, argument flow.
• Character or argument. Goals, turns, claims, evidence.
• Pacing. Entrances, exits, beat density, summary-to-scene balance.
• Prose. Line-level clarity, echo, rhythm.

Simple tracker columns:

• Task. Example, move midpoint reveal to chapter 12.
• Driver. Promise, stakes, clarity, or market fit.
• Scope. Pages or chapters touched.
• Owner and date.

Two-week sprint idea:

• Pick two structural changes and two deepens.
• Schedule three short sessions per week for prose cleanup on revised pages only.
• Hold one weekly review to adjust scope.

Next steps

Bring in early readers once major choices settle. Not before.

Beta reader briefing:

• Share the hook and target reader.
• State three focus questions. Examples, where did attention drift. Which character felt thin. Which chapter taught something new.
• Ask for page numbers with comments. No line edits.

After beta notes:

• Collate patterns. Ignore single outliers unless those match your gut.
• Run one more developmental pass for the big fixes.
• Only then move to line editing and copyediting.

Submission materials

Strong pages still need strong packaging.

Fiction query:

• Hook paragraph with title, category, word count, comps.
• Mini-synopsis with beginning, middle turn, and ending.
• Bio with relevant credits, awards, or platform.
• Housekeeping, personalization, and thanks.

Synopsis, one to two pages:

• Chronological.
• Major turns only.
• Real ending on the page.

Nonfiction proposal package:

• Overview with hook and audience.
• Market section with comps and differentiation.
• Author bio with platform, speaking, newsletter, or credentials.
• Chapter outline with one-line outcomes.
• Sample chapters.

Update pitch after each major revision:

• Hook sharpened to match new focus.
• Chapter summaries aligned with revised order.
• Word count accurate.

Quick diagnostic checklist

• Do genre promises appear on the page, with a matching word count range.
• Does the hook name stakes or outcomes in one breath.
• Do comps show clear alignment and a difference readers care about.
• Does the reader journey build toward a payoff that lands.
• Do cut, merge, and deepen lists exist, with bridges planned.
• Does the to-do list push structure and argument first, prose last.
• Are beta readers briefed with focus questions and a response form.
• Do query, synopsis, or proposal reflect the current version.

Name the shelf. Clarify the promise. Plan the work. Then execute with calm focus.

Frequently Asked Questions

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