Why research writers (and seven-year-olds) need to get messy: how to get motivated again to finish your PhD

What if you forget about the end product for now?

Year two had been to the art gallery in town. They’d drawn self-portraits, just like my older kids had done in previous years.

All the seven-year-olds came running out of school, beaming, waving their pictures at their parents.

Except my son.

‘Where’s your picture?’ I asked, excited to see it.

‘I scrumpled it up and put it in the bin. It was rubbish.’

Cue massive mum guilt.

Had we somehow set the expectation that art has to be good to be worth doing? I didn’t think so. What even is ‘good’ anyway?

Maybe it’s the oil paintings filling our walls – both my parents are artists, and their beautiful work is everywhere. Maybe my son doesn’t yet realise that Nana and Poppa weren’t born being able to paint like that.

But I also proudly display my kids’ toddler artwork (which, by the way, is just as beautiful).

Children's framed paintings on a wall with adults painting visible through a doorway
Forget the product for now and just get lost in the process.

Perhaps we just haven’t spent as much time doing the thing – getting messy, experimenting, playing – as we did with our older two. Poor third child.

He’s off to art club tonight (apart from anything else because we need the after-school childcare). There has been much complaining that he ‘doesn’t like art’. I told him just to go and enjoy it.

Because I’ve never forgotten something my dad once told me:

‘If you ever feel depressed, just create.’

Create. Do the thing and let yourself get lost in the process. Let go of the outcome and just enjoy.

And it struck me that this applies just as much to writing.

If you’re writing anything that takes months or years and if you’re in the middle of a long project, you’ll almost certainly reach a point where motivation dips. You start judging yourself too soon, thinking about the product before you’ve allowed yourself to get lost in the process.

I can’t remember the number of times I said to my husband when I was writing my PhD: ‘That’s it. I quit’. Even though I’d been passionate about my subject to start with (and still am, by the way).

Maybe you’ve hit a difficult chapter and can’t see your way through. Maybe you’ve received feedback that’s knocked your confidence. Maybe you’re just tired of the whole thing and can’t remember why you ever cared.

You forget the excitement that got you started in the first place.

So here’s a small invitation for today: Remember what first fascinated you about your project. Write about your subject, not for your supervisor or publisher, but for you. Forget the audience for a moment. Forget structure. Just write what excites you.

I’m not thinking about Anne Lamott’s shitty first draft – Lamott’s advice is still about producing a draft, about writing something that will eventually become your finished piece. It’s still output-focused: write badly now, edit later. Useful, yes. But what I’m suggesting for when you need a radical motivation boost is different. I’m talking about forgetting drafts altogether for the moment. No beginning, middle, or end. No sense of what this will become. Just pure exploration and play. Write with no destination in mind at all.

Let it be a brain dump, a messy sketch – like a child’s self-portrait.

Because that’s how you find your flow again. That’s where the joy lives.

We can think about the product later. For now, just let yourself play.

How to stay focused when every new idea feels too exciting to ignore

Curiosity almost cost me my PhD

Every new article, every unexpected finding, every what if … felt too exciting to leave unexplored. I told myself this was what good researchers did – that following ideas wherever they led was part of the process. But really I was avoiding the hardest part: finishing.

A close-up portrait of a woman with long hair, smiling slightly against a backdrop of greenery.

Towards the end of my PhD, I reached a point where I just wanted to get the darn thing written and submitted – to get it done and move on with the next stage of my life.

So I made a plan to get on track. I left my two under-fives with my husband for the weekend and drove back to my hometown in Pembrokeshire in West Wales to stay at my parents’ house and write. No distractions, no excuses – just time to focus.

For a few days, I sat at my laptop from morning till night, moving only for cups of tea and the occasional stretch. I was determined to make progress. But after a while, my body and brain were clearly struggling.

At one point I walked into town for a break, and an old school friend spotted me.
“Lizzy, you look like death warmed up.”

Thanks, Alth.

That moment stayed with me. I was doing what I thought I should be doing. I was pushing through, chasing every loose end – but it wasn’t working. I was tired, unfocused, and knee-deep in ideas that didn’t belong in the final thesis.

A blank spiral notebook surrounded by crumpled paper in blue, purple, and yellow, with a cup of tea beside it, symbolizing a writing space.

I didn’t need to explore everything. I needed to graduate.

Curiosity had got me this far, but it was quietly sabotaging me near the end. I needed to shift from exploration to completion – from discovery to delivery.

Asking myself the hard questions

Instead of asking:
What else could I do?

I started asking:
What do I need to do to submit?

I began to question my decisions more deliberately:

  • Does this idea strengthen my main argument, or is it one for later?
  • Am I adding this because it’s essential, or because I’m worried it’s not enough?
  • If I only had six months left, what would I prioritise?

These questions helped me draw a line between curiosity and completion. They didn’t silence my curiosity – they parked it somewhere safe until I had the energy to explore it again.

Something that helps me: the “for later” folder

That’s when I started my “For Later” folder.

A hand reaching into a blue file folder filled with brown paper documents.

Every time I came across a shiny new idea or a tempting tangent, I dropped it straight in there. That way I wasn’t ignoring my curiosity but I was giving it a place to live while not allowing it to distract me.

It sounds simple, but it worked. I stopped derailing my progress and started trusting that those ideas would still be there when I needed them.

And they were. I still have that folder now, and I still use it on every new project – whether it’s an article, a workshop, or a piece of research. It keeps me focused without shutting down my curiosity.

Focus gives your curiosity direction

Finishing a PhD isn’t about knowing everything or exploring every possible angle. It’s about shaping what you do know into something coherent and complete. Something you can stand behind.

Focus is what allows curiosity to become something real and shareable.

Rather than closing doors when you decide to finish, you’re choosing which doors to walk through first. The rest will still be there when you’re ready (and you can make the unanswered questions your next project, whether that’s in academia or not).

If you’re nearing the end of your PhD and every idea feels like it might be the one that changes everything, remember this: you can always come back to it. You can write the next paper, or even the next project, once you’ve graduated.

For now, your job is to get it done.

And if it helps, make yourself a little “For Later” folder. It’s one of the simplest, most powerful tools I’ve ever used – and it’s saved every project since.

Transform deadlines into opportunities for creative triumph with a thinking aloud partner

Deadlines often come with a heavy dose of stress and anxiety, but what if we could reframe them as opportunities for creative breakthroughs, allowing us to produce our best work? Something I’ve found hugely helpful for allowing writers to reframe deadlines is to act as a thinking aloud partner.

Whether you’re an author racing towards a manuscript deadline, a professional finalising a report, or an academic wrapping up a research paper, how you approach deadlines can make a significant difference to your stress levels and the quality of your work.

A thinking partner aloud partner can help you reframe writing deadlines

Reframing writing deadlines with a thinking aloud partner

A ‘thinking aloud partner’ (or perhaps, a ‘thinking allowed partner’) inspired by Nancy Kline’s Time to Think and the work of Peter Elbow in Vernacular Eloquence, involves liberating assumptions and verbalising ideas.

This thinking environment your partner will help to create will be a space where you can freely express and develop your ideas without interruption and is crucial for deep, creative thought.

Why the thinking aloud approach works for writing deadlines

Kline emphasises the importance of giving yourself and others the time and space to think deeply and of focused questions in prompting this deep thought. By vocalising your thoughts, you can explore your assumptions and refine your ideas more effectively.

Thinking aloud helps you:

– Recognise assumptions that are stopping you meeting deadlines

– Clarify your thoughts by discussing them openly

– Identify areas needing further development

– Gain insights that are not immediately apparent through silent reflection

– Be challenged on what you may be overlooking

Focusing on creativity over word count

Earlier this year, I worked with a nonfiction author facing a publisher’s deadline. Instead of stressing about the ticking clock, she was able to reframe the deadline as a chance to enhance her creative vision. With me as her thinking partner, our discussions turned the deadline from a stressor (‘I haven’t got time to meet the deadline’ and ‘I’m not an expert on this topic’) into a tool for fine-tuning her ideas (‘what would I write if I knew I had time to meet the deadline?’ and ‘what would I write if if knew I was an expert on this topic?’). The result was a manuscript that exceeded her expectations and became a source of pride.

Focusing on ideas before language

A senior executive client for whom English was a second language faced pressure with an internal deadline. By focusing on refining her core message through verbal processing, she turned what could have been a stressful situation (‘my grammar isn’t good enough’) into a confident and clear presentation (‘what would I write about if I didn’t have to worry about my grammar?’). The thinking aloud approach helped her shape her thoughts and present them effectively without the earlier stress of the written word (after all, it’s impossible to edit a blank page).

Building confidence and claiming expertise

Currently, I’m helping a PhD student manage a challenging deadline. By using a thinking aloud approach, we’ve alleviated some of the imposter syndrome (‘I don’t belong on this programme’) and enhanced their understanding of their research project’s value (‘I don’t have anything to add to the conversation’). This verbal processing has made writing easier and they’ve become more confident (‘how would I tackle this deadline if I knew I was good enough?’ and ‘what would I write if I knew my research would make an impact?’).

What is a thinking aloud partner?

A thinking aloud partner is someone who listens to your verbalised thoughts, helping you shape and clarify your ideas. They support you by:

– Asking focussed questions that encourage deeper thinking and question your assumptions

– Helping you identify gaps or areas needing development

– Offering feedback without taking over the creative process

– Providing emotional support, especially when deadlines feel overwhelming

Tips for effective thinking aloud partnerships

1. Regular check-ins:

Schedule sessions regularly to discuss new ideas, brainstorm solutions, or review progress.

2. Free-flowing conversation:

Allow your thoughts to flow naturally; your partner can help organise them later.

3. Focused questioning:

Use the Time to think approach to facilitate deep thought.

4. Focused feedback:

Address specific issues or sections where you need help.

5. Accountability:

Use your partner as an accountability buddy to stay on track with deadlines.

6. Virtual or in-person:

Choose a format that suits you, ensuring a supportive space for idea exchange.

The power of speaking for written projects

Peter Elbow’s *Vernacular Eloquence* highlights how speaking can improve writing by clarifying thoughts and refining arguments. This approach bridges the gap between mental concepts and written expression, making your ideas clearer before they hit the page. Often my clients will use freewriting to ‘write though the fog’ but many find that ‘thinking aloud’ can be even more powerful.

Reframing deadlines as opportunities for creativity and growth, rather than obstacles, is entirely possible with the right strategies and support.

How do you approach your deadlines? Have you used any strategies that help convert deadline stress into creative energy? Could a thinking aloud partnership be the key to navigating your next deadline more smoothly?

Let’s embrace deadlines as opportunities for creative triumph.

References:

Kline, N. (2011). Time to Think: Listening to Ignite the Human Mind. United Kingdom: Octopus.

Elbow, P. (2011). Vernacular Eloquence: What Speech Can Bring to Writing. United States: Oxford University Press, USA.

Dealing with feedback: A practical approach for PhD students and researchers

(Please note, this post is about the practical rather than the emotional labour involved in dealing with feedback on your research writing. They are equally important, and a post on the emotional side of approaching feedback is coming soon!).

Have you ever opened a document with your supervisor’s or PI’s track changes and just wanted to slam the laptop shut and never look at it again? Yep? Me too.

Feedback can feel like a massive blow, but breaking down can help us to make our writing better

If you have a supervisor who’s particularly generous with the track changes feature in MS Word, (especially when you may be at a stage when a  ‘summary approach’ to content would be more useful), you may be unsure of where to even begin. 

There are often plenty of gems in feedback from experienced writers. But sometimes comments need a little unpicking to help you get the most value from them.

The following is a practical approach to help you deal with ‘feedback- overload’.

Do you have multiple supervisors who give you different feedback?

This approach can be useful when you have multiple supervisors commenting on sections of your draft and you need a systematic way to keep track of who’s saying what.

You’ll also be able to document decisions about whose guidance you’ll follow when there are differing opinions (also very common).

By all means do slam that laptop shut and have a cry or a scream first.

Then, when you’re ready to come back to it, open your document (or print it out if you prefer to work on paper).

First, we’re going to break down the feedback into four main categories.

Four categories of feedback

  1. macro, content, or big picture feedback
  2. style
  3. formatting
  4. proofreading

Your master documents

Also, start two new documents: a proofreading checklist and a stylesheet.

We’ll come to what these all are later.

For now, just choose four colours (digital or actual highlighters) and open and name your documents.

Colour code the feedback

Now, go through the comments in your feedback document and colour code comments according to the categories 1-4 above: macro, style, formatting, and proofreading.  As you go, you’ll be adding to your proofreading document and stylesheet as well.

1. Macro feedback

This might include suggestions to include more information on a certain topic or to rearrange sections. It could also include suggestions on your argument or reasoning.

Comments could be something like: “The main thesis of this chapter is somewhat obscured by tangential discussions. Focus more on directly supporting your central argument throughout.”

2. Style feedback

Here, your reader may point out wordiness, length of sentences, and overuse of technical terms for example.

Comments may include: “You rely heavily on jargon in this section, which may alienate readers unfamiliar with the terminology. Aim to strike a balance between technical precision and clarity.”

3. Formatting feedback

This might involve adjusting headings or bullet points. Perhaps: “The formatting of your figures and tables is inconsistent throughout this chapter.” Or “should be a level 2 heading”.

4. Proofreading/ writing conventions feedback

This feedback focuses on the ‘correctness’ of language, including following writing conventions such as spelling, grammar, and consistent use of abbreviations and figures/ writing out numbers in full.

Comments might include “Ensure consistent use of acronyms (write in full on first mention).”

While you go through the comments, you’ll be adding to your style sheet and your proofreading checklist.

Add to your stylesheet

Your ‘stylesheet’ is a document outlining specific guidelines and preferences for writing, formatting, and presentation that will save you heaps of time.  This document will ensure you’re consistent in your writing, even if you’re just working on small portions at once. Your stylesheet is not about what’s ‘right or wrong’, just about preferences (or referencing conventions) for this particular document. 

Example stylesheet headings:

Numbers:

write in full up to nine

Hyphenated words:

re-elect vs. reelect

Other:

“PhD” vs. “Ph.D.” vs. “Doctor of Philosophy

Referencing: 

APA/ Havard

Language Usage: 

American vs British spelling

ise or ize verbs when there is a choice.

Add to your proofreading checklist

As you go through comments in this final category, it’s a good idea to make notes on a separate checklist of common errors to use before resubmitting or submitting your next chapter. This will be your proofreading checklist.

These might be notes like:

acronyms written in full on first mention 
figures 
subject/ verb agreement 
Create a proofreading checklist when going through feedback

Next steps

Once you’ve highlighted the comments and populated your checklist and style sheet, you can tackle thee comments based on your current mental capacity and time availability.

What feels doable right now? 

If you’re feeling up to it and want to focus on the big picture, start with the macro feedback. Consider moving sections around or adding or removing content.

tackle the stage of editing that feels most doable first

If you’re low on brain power but have some time to spare, focus on formatting first. Set up your word styles and ensure headings and other formatting elements are consistent throughout the document. This task doesn’t require as much mental energy so you can do it when you’re feeling tired.

Style feedback can be saved for later in the process, after you’ve addressed the big picture issues. There’s no point in obsessing over sentence structure or word choice if you’re going to end up deleting or moving entire paragraphs. 

When you’re tackling proofreading you’ll be glad you set up your checklist and stylesheet as you’ll be able to check over anything you added or changed in the macro stage or when you were looking at style.

By breaking down the feedback and tackling it in sections while adding to your master stylesheet and proofreading checklist, you’ll make the revision process more manageable and less overwhelming. 

Remember, everyone has their own process, so find what works best for you.

And, if something different works, you’re not doing it wrong!

If you’re wondering how you get more usable feedback, you may find this post on asking for the right kind of feedback useful.

Why am I not writing?

‘I know you’re not my therapist but…’

You might think that as I have a background as an applied linguist and writing teacher, my work with clients is all about the words on the page.

But writing is rarely just about the words on the page.

Sometimes you need to talk about more than the words on the page.
Sometimes you need to talk about more than the words on the page

Here are a few moments from a week I documented a while back:

Monday morning: a client began our session with ‘I know you’re not my therapist, but…’.

That’s right. I am NOT a therapist and nor do I try to be. But sometimes we need to explore the reasons that the writing isn’t happening (maybe now is not the time to write). Or why the words are flowing but just not getting out the door (often the hardest part).

Monday afternoon: final edit of a manuscript (ok, this was mostly about the words).

Monday afternoon: text from a client. ‘Do you think this is ready to submit?’ She knew it was. We’d already agreed it was. But she needed that extra confidence to press send.

Tuesday morning: a client messaged to ask if she could book an additional session.

We weren’t due to meet for a while, but she had a chapter to submit to her doctoral supervisor.

I know this client well. I’ve seen an early draft of this chapter.

What she’s submitting isn’t meant to be anywhere near a final draft and it doesn’t need to be perfect (it’s already pretty good).

Honestly, she didn’t need a session. All she needed was a little nudge, a friendly reminder that a PhD is an apprenticeship and that those first drafts should be gloriously imperfect. It turned out a reply to her message was just the nudge she needed.

I’ve been down that road. Taking forever to submit a first draft of anything during my first years as a PhD student (shout out to my endlessly patient mentor at that time, Ramesh Krishnamurthy). I understand.

If writing is giving you more angst than pleasure right now, maybe you just need to let go of the idea that it needs to be perfect. Or maybe you need someone by your side, cheering you on.

Sometimes you just need someone to walk the path with you (client message shared with permission).

Is there something that you can send into the world that doesn’t feel high stakes? A blog post perhaps, or an email?

Do you have a friendly colleague you could send a draft to for feedback or reassurance (if that’s what you need)?

Or you can take this post as that gentle nudge and allow yourself the space for your writing to be imperfect.

Writer’s block? Try this unblocking exercise

Are you struggling with consistency? Is your writing going slower than you’d hoped, or just not happening at all?

Is it lack of time, or is there something else that’s really stopping you writing (not knowing what to write about? having too many ideas? fear of finishing and having to publish/ submit? perfectionism? comparing yourself to other writers?).

Try some exercises for overcoming writer’s block

Before I share one exercise that works wonders for my clients and students, a few thoughts:

Perhaps slow writing isn’t bad. Ideas need time to gestate.

Trying to work too quickly, trying to work in too polished a way too quickly, expecting clarity too soon, can set us up for failure.

DeSalvo, L (2014).

 

What helps me write:

Writing something else, just to flex that muscle (an email or a LinkedIn post?).

Setting myself deadlines. I often set myself mini deadlines for before the actual deadline (if it’s something I’m submitting to an editor or supervisor). If there is no official deadline, you can still challenge yourself to finishing that chapter or post by a certain date (even if it’s not as good as you like).

Putting writing on the calendar and sticking to my sessions (for me, it helps to have a writing buddy, but you may not need the extra motivation!). 

Using scheduled sessions to write through the block (even writing about why I’m not writing helps me get unstuck).

Mixing up my writing tools. This may seem daft, but switching from a screen to using a fountain pen and notebook works for me. My sister-in-law gave me this beautiful pen from Papier. I highly recommend.

Try switching from your screen to pen and paper

An unblocking exercise for writers

(I’ve found this works well with academic writers and nonfiction writers writing for business though it may work for other writers too.)

This is an exercise that always leads to animated discussion and lots of brilliant suggestions whenever I’m working with classes of writers.

Write for a few minutes about these questions.

What keeps me writing?

What stops me writing?

What would I write if there were no barriers?

What if I didn’t write it?

Once you’ve tried the exercise, share your thoughts below or drop me an email. I always love to hear what helps others write!

What I read:

DeSalvo, L. (2014). The Art of Slow Writing: Reflections on Time, Craft, and Creativity. United States: St. Martin’s Publishing Group.

How can I start writing after a break?

This morning I felt it. That staring-at-a-blank-screen feeling.

How to get the first words down on the page? Whether it’s after an illness, a planned holiday or an unexpected life event, we all have times when it can be hard to get writing again after a break.

For me it was a month of renovation upheaval and way too long with no kitchen (please never make me eat a takeaway again).

This followed by the endless summer holidays. While I’ve kept client editing work and coaching ticking over, my own writing has been on the back burner.

Heading text reads: Get your writing mojo back after a break. Photgraph of two boys on a cobled street with backs to camera. Shorter boy behind in yellow tshirt with arms outstretched.

We took the kids  to the town hilltop in Italy where I had my first teaching job. There, we caught up with my old housemate, who now runs a delightful winery with his wife. Like me, Laura and Ali combine running a new(ish) business with parenting three kids.

Our boys dove into Italian card games, relished dinner at the kids’ table and discovered that Italian children have a THREE month summer holiday. Not only that, they get to ride mopeds when they’re 14… Talk about feeling short changed!

I did spend a few espresso-fueled mornings scribbling at the local ‘bar’ (I’m the early riser in our family). These notes might become anecdotes for other projects one day, but at the moment they’re just scribbles in my notebook and were more about just enjoying the feeling of writing in a different environment (no way I could make my own coffee because the shop only sells fresh milk on Thursdays).

But my main interaction with words over the summer was consuming copious amounts of fiction and dredging up what remains of my rusty Italian.

So the question is, how do you get back into writing after you haven’t written seriously for a while?

First, be kind to yourself.

Recognise that life has seasons and that your writing will find its time.

The moments you spend away from the keyboard are as crucial as the moments you spend writing.

Why not start with a little sketch of something that happened recently. An observation? A reflection? Just to remind yourself that writing can be a joy. You don’t have to share it with anyone (but if you want to, I’d love to see it!).

How I’m getting back into writing:

I’ll be resuming my weekly sessions with my writing buddy

I met my writing buddy Sarah in a writing workshop a few years ago. We like to catch up about life, writing, business (and usually the motherload), before we get down to a few writing sprints. Meeting Sarah helps me turn up for my writing (and look forward to it), and keeps me motivated to write in between our sessions. (Sarah’s a mediation teacher and I always feel lighter after our sessions even though we’re just chatting and writing!)

I’ll be remembering that changing my writing environment can be a good motivator

I write best at home (when it’s just me!), but I do find that being in a different environment can be great for the idea generation stage (favourite notebook required of course). So as well as arriving early to cafe meetups with friends, I’ll be checking out my new cafe up the road (which I’m pleased to note opens at 7am).

And I’ll be diving into two fun projects

And now I’ve written all that down, I’m starting to feel motivated again!

What are your main writing projects for the next few months?

And how do you start writing after a break?

This post began life as an email to my subscriber community. If you’re not a subscriber and would like to get inspiration and motivation straight to your inbox, you can join me here.

Which kind of editor should I hire? (and should I get my friend to proofread my book?)

‘Should I get my friend to proofread my draft before I send it to you?‘

My answer to my client might surprise you.

‘No, I wouldn’t at this stage.’

My client, ‘A’, is a self-publishing author writing her book in English (not her mother tongue). Although a fluent English speaker, A is worried about her written grammar.

A is still at the ‘big picture’ stage in her writing journey.

The last thing she needs is someone correcting her apostrophes and reworking her words before she’s had time to shape her ideas.

An image of two peoples hands with note books. An editor working with a writer.

So a better answer to the question ‘should I get my friend to proofread my draft before I send it to my editor?’ is actually ‘it depends’.

It depends on which stage of the writing journey you’re at, and on which kind of editor you’re hiring.

If you’re hiring a developmental editor to look at the structure and content of your ideas, do you really want to use up your ‘favour credits’ with your English teacher friend now, or would it be better to wait until you’re clear on the structure and content of your book and then get your friend to do the proofreading? That will ideally save you money on your proofreader at the end of the process, as your manuscript will be in better shape when you do send it for professional proofreading.

Of course, if your friend is happy to do endless rounds of proofing then that’s another matter entirely! But how frustrating would it be to spend hours perfecting a chapter or a section of your book, only to decide to cut it?


I’m an advocate of SLOW writing. Allowing ideas to percolate and words to sit before rushing to get them out.

There’s a place for calling in friends to help with reading for sure. But proofreading for grammar at the ‘big ideas’ stage is not always it.

Take your time and don’t rush to perfection. You might just lose something along the way.

If you’re asking for feedback on early, tender drafts, ask for feedback on ideas and content and not on language (read this post about how to ask for the right feedback at different stages of the writing journey).

And make sure you are careful about who you get that feedback from.

Image of a book cover: On revision. The Only Writing That Counts. By William Germano.


If you’re thinking about hiring professionals, here’s a quick guide to the type of editor(s) you might need (some editors do more than one type of editing, and editors don’t always use the same terms, so it’s always best to check with the editors to see if they offer the service you are looking for).

Which type of editor should I hire?

When you’re a self-publishing author, you want to make sure your book goes through the same stages of editing as it would if you were traditionally publishing. You don’t want to sacrifice quality, even if you do decide to take on some of the editing work yourself.

Editing always goes from big picture or book to word. From macro to micro. Don’t start by editing the words and then go back to editing the structure. Typos and other ‘surface level errors’ are the last to be weeded out.

How to edit your book. The editing process. Editing to proofreading. From text to sentence.

Here are the main stages of editing you’ll come across in your book-writing process.

1. Manuscript critique

When providing a manuscript critique (often called a manuscript appraisal), an editor will provide feedback on your book’s strengths and weaknesses. They’ll evaluate your style, structure, pacing, and other important aspects of your book. Expect feedback on a macro and micro level, but not too much that it’s overwhelming for you. A manuscript critique can be a huge help in your writing development.

This service is especially useful for first or second time self-publishing authors who may not have access to the same level of editorial support as those traditionally publishing might.

2. Developmental editing

A developmental editor focuses on the overall structure and content of your book. A developmental editor will ensure that your book is well-organised with a focused message, and is easy to understand. They may also suggest changes to the content in line with your aims.

Not every author will need a developmental editor, but someone to help you with the big picture stuff can be useful if you’re a first-time author, or if you didn’t spend much time in the planning phase of writing your book. And, a developmental editor can help you at the planning stage, acting as a writing coach to help make sure you’re off to a good start.

3. Line editing

A line editor focuses on your writing. They will look at your sentence structure, grammar, and style, making sure that your writing is clear and concise, and that it flows well. They may suggest changes to the wording to make it more engaging or to help you better achieve your goals.

Line editing can be helpful if you aren’t sure of your style or want to make your writing more zingy or just think there are sections that feel clunky and could do with sprucing up.

4. Copy editing

A copy editor focuses on the ‘mechanical’ details of your book. They will look at grammar, punctuation, spelling, and formatting, making sure that your book is consistent and error-free. A copy editor may suggest changes to the wording to make your writing clearer.

Most authors will need a copy editor. No matter how thorough you are, there will always be something that slips through the net. And nothing is more annoying to readers than paying good money for a book that hasn’t been professionally edited.

5. Proofreading

At the final pass, a proofreader will catch any surface level mistakes in grammar, punctuation, spelling, and formatting, ensuring your book is error-free and ready for publishing. You want as little meddling as possible here. This is because proofreading happens after formatting (which is why you need to go through the other editing stages first).

Again, this is an editing stage that is 100% recommended for all authors, no matter your experience and expertise. And this is definitely a stage of editing that needs to be outsourced.

To figure out which editor to hire, consider the stage of editing your book is in. If it’s in the early stages and you need help with structure and content, go for a developmental editor. If it’s in the later stages and you need help with writing, line editing, copy editing or proofreading will be what you need. If you’re not sure what you need, then ask for a manuscript critique or chat to an editor.

Need an editor for your nonfiction book project? Tell me about your project below or schedule a call with me here.

If I’m not the right person to help you, I probably know an editor who is!

Listen to the audio version of this post on the Let’s talk writing podcast.

Go back

Your message has been sent

Writer’s block? Or just too many book ideas you don’t know which one to choose?

Is writer’s block real?

If so, what causes it?

And why have I still not started writing my book?

Every writer needs a door sign made by a 10-year-old.

At the start of each semester, I reflect on the following questions with a new cohort of doctoral students at Swansea University:

What stops me writing?

What keeps me writing?

Along with the usual ideas about distractions that stop us writing (mobile phones, social media, lack of time, kids, cleaning the fridge, and not writing until all the other jobs are done), something that often comes up is that there are just too many ideas. Writers don’t know which idea to write about. Or which idea to write about first.

One reason I enjoy editing is that the starting point is not a blank screen. I feel more like a sculptor than a tortured writer when I’m editing.

Are you trying to edit your work too soon?

But when you start your writing your book, there are no words. There’s nothing but an idea.

And having too many ideas can be even worse than none at all.

Which book should I write? What if I write the wrong book?

How about allowing yourself some thinking time before you try to write? And not telling yourself that this ‘doesn’t count’ because you’re not ‘writing’.

Take the pressure off not having started yet.

My writing accountability buddy, author and meditation teacher Sarah Beth Hunt, likes to separate the thinking and writing part of the process.

I do this too, and my thinking involves brainstorming and outlining onto the page (at the thinking stage it’s paper rather than on screen).

What to do when you have too many book ideas:

1. Choose ONE idea to write about (for now).

If you have multiple ideas for a book, you can ask yourself: Which idea excites me the most? Which idea helps solve a problem for my reader? Which would my ideal future client most want to learn about? Any other ideas go in my ‘for later’ folder on the PC (I’m not abandoning them entirely, I’m just getting them out of my head for now).

2. Brainstorm subtopics.

So you’ve decided which topic you want to write about (for now). Next, ask yourself what the key subthemes are to explore within this overarching topic. What do I need to share with my reader in order for them to get the desired outcome?

3.Organise your thoughts into a logical plan.

This plan will become your table of contents (TOC) in your book. Make sure each chapter or section has a clear theme or idea you want the reader to be left with.

4. Now comes the writing part.

You’ll notice that steps 1-3 are heavy on thinking. You’ve set solid foundations and the writing part will be much easier. Write freely within your outline or TOC. At the first stage of writing, you’re aiming for a ‘brain dump’. Don’t stop to choose the correct word or think about your overuse of dashes. We are at the content stage of the writing process here.

(You’ll notice I haven’t mentioned editing. That’s deliberate. Editing for structure comes next, followed by editing for style and then (much) later, proofreading for errors.)

And, if you’re still stuck at number 1 even after using a writing prompt, go for a walk or a run (or whatever you can do to get away from the page or the screen). Sometimes the clarity comes when we’re away from the page.

Knowing you want to write a book is one thing. But not knowing which book to write or how to focus your ideas can stop you from even getting started.

If you think too many ideas might be the cause of your writer’s block, you can work through my free author workbook to help you decide which book to write (or which book to write first).

Answering the questions in the workbook will help you focus your ideas and you’ll be sure you’re planning to publish the right book.

You’ll get a week of email guidance from me to help.

Give yourself the space of ten minutes a day for a week and get clear on your winning nonfiction book idea.

get your free author workbook here

How do I write a winning book proposal? Essential elements to include in your nonfiction book proposal

(A partial summary/ review of  How to Write a Book Proposal: The Insider’s Step-by-Step Guide to Proposals that Get You Published, by Jody Rein with Michael Larson).

So, you have a great idea for a nonfiction book.

You already have a substantial author platform.

You’ve spent time building your author portfolio.

You don’t mind that your book won’t be out in the next six months or even this year.

And you’ve decided you want to publish traditionally…

You’ll need to make sure you spend plenty of time writing a winning book proposal to get that book deal.

This post outlines the main components you’ll want to include in your book proposal and is a somewhat summary/ review of this excellent book by Jody Rein and Michael Larson (a book that I always recommend to clients who are writing proposals).

***Do check the specifications of your intended publisher/ agent before you submit your proposal!***

I don’t go into the pros and cons of traditional versus self-publishing here (what’s right for one author won’t be right for everyone). Jane Friedman has a great post about traditional vs self-publishing if you want to learn more.

And, if you are planning to self-publish your book or later decide to self-publish, writing a proposal is a useful exercise to go through anyway. Not only will this work help you focus your book and make sure it will actually sell, it’ll make the process of writing and marketing your book way easier as you’ll already have a clear outline and marketing plan. In fact, you’ll be able to turn your proposal into a plan for self-publishing.

My colleagues and I were lucky in that our commissioning editor at Macmillan worked with us to produce our proposal for Reflective Writing for Nursing, Health and Social Work (the book is now published by Bloomsbury).

This relationship was based on a simple email outlining our clear idea and viable audience for the book.

Book cover: Macmillan Study skills Reflective writing for nursing, health and social work, Elizabeth Tanguay, Peter Hanratty and Ben Martin
Book cover: Bloomsbury Study skills Reflective writing for nursing, health and social work, Elizabeth Tanguay, Peter Hanratty and Ben Martin

Working with a commissioning editor may not be the typical route to publication for many nonfiction authors (different publishers have different approaches so always check). However, going through the process with an editor at a top-five publisher did give us top-notch training on how to structure and write a winning nonfiction book proposal.

Unlike for fiction, nonfiction books are sold based on a proposal (including at least one sample chapter) rather than the whole manuscript. So the good news is that you don’t need to write your entire book to submit a proposal.

So if you don’t need to write an entire book to submit a book proposal, what should you include?

And, as promised here are the fundamentals of a book proposal set out in Rein and Larson, 2017:

The three main parts of a book proposal:

  1. Marketing information (to reassure your publisher that your book is actually going to sell).
  2. An overview of your book (to give your publisher a clear idea of how the final product will look, including number of pages and any special features).
  3. Sample writing (to show your publisher that yes, you will actually be able to write your book and also give them a flavour of your writing style).

Specifically, you’ll want to include the following elements in your book proposal:

  1. ‘Pizzaz’* (this is a term that Rein and Larson use and I think it’s useful to describe that ‘something special’ about your book): Pizzaz is the wow factor to grab the reader’s attention (often known as a ‘hook’). This might be a mission statement, how your book is the first book to do xyz or to do xyz in a particular way or perhaps a fact or question. For example, RW was the first book to actually teach the writing of reflection that health students or professionals need for study or continuing professional development. This hook shows a clear benefit to the reader and showed the book had the promise of being a valuable ‘longtail’ book that would continue to sell many copies for years to come.
  2. Overview: This is a brief summary of your book, including your primary argument or thesis and your target audience. This may also be similar to the description used on the publisher’s website to sell the book. Here’s the RW overview from the publisher’s website:
    • “This book takes students step-by-step through the process of planning and writing a reflective essay, beginning with crucial guidance on planning and structure. It introduces different reflective frameworks and shows readers how to structure a piece of writing according to a particular framework. Chapters contain a wealth of activities and exercises which will help build students’ skills and confidence. Suitable for students of all health-related disciplines in which written assignments requiring reflective practice are required.”
  3. Book specifications: How long will the book be (word count)? How many pages? What size will will the book be? You can check out similar books to your book or an idea of specifications.
  4. Author bio: Brief professional information about you, including any relevant credentials (experience, qualifications, publications or speaking engagements). Why are you the right person to write this book? Have you written any articles or blog posts on your topic already? Have you taught, or do you teach in some capacity on this subject? What is your expert status in working on or researching this subject? You may include a link to a video here.
  5. Author platform: The audience or community you have built and engage with. Your platform can include membership of organisations and leadership positions relevant to the topic of your book. This section can also include traditional media appearances, social media platforms, mailing list numbers and awards you have won.
  6. Personal promotion*: This section explains to the publisher your detailed plan for promoting your book. Contrary to popular belief, apart from for top authors, there is very little budget set aside for book promotion. Much of the promotion activity for your book will be up to you. And, this is a good time to suggest that if you don’t want to promote your book, then you may want to rethink becoming an author! Your marketing and promotion plan could include podcasts you intend to speak on, any conferences or summits you will speak at, professional organisations whose members would be interested in your book, and your current platform (mailing list or Facebook group numbers can be useful here). Be as specific as you can here. How many people can you contact directly to sell your book? Are a you a member of any organisations that might buy the book in bulk or add the book to a suggested reading list? If so, how many members do these organisations have? How many listeners does your podcast have?
  7. Audience: Who is the main audience for your book? Is there a secondary audience? For RW the main audience was nursing, health and social work students, but secondary audiences include professionals using the book for support in their continuing professional development as well as university staff and lecturers who would recommend the book.
  8. Competitive/ market analysis or ‘comps’: This is a comparison of the proposed book to similar books currently on the market along with figures. What other books do your readers like to read? If you’re worried that your book has already been written, read this post.
  9. Table of contents: This is what it says on the tin! You may change you chapter headings when you come to write the book, but make sure your TOC gives a clear indication of what will be in each chapter and that there is a logical progression from one chapter to the next.
  10. Detailed outline: This more detailed outline should include chapter summaries.
  11. Sample chapter(s): Sample writing from the book that demonstrates your voice and the book’s content. Choose at least one of your best middle chapters here to give a clear flavour of the style and content of your book (the first chapter isn’t always representative and though you may decide to include this as well.
  12. Supplemental material*: This can be anything to back up your proposal that you wouldn’t include in the main proposal (e.g. articles or reviews of previous books).

Finally, ensure that your proposal is well-written and professionally presented. And of course, you need to make sure you don’t have any typos so it’s worth at the very least getting your proposal proofread!

*Optional elements.

I highly recommend this book for anyone writing a book proposal. Not only does it outline each of the elements above in great detail, it also answers the kinds of questions clients often have about language when putting together a book proposal (for example, should I use first or third person in my author bio?).

If you want a professional pair of eyes on your book proposal, I offer nonfiction book proposal editing.

Pop me a message below to get started. I look forward to hearing about your book idea!

Go back

Your message has been sent

References and further reading:

How to Write a Book Proposal: The Insider’s Step-by-Step Guide to Proposals that Get You Published. Jody Rein with Michael Larson. 5th edition, 2017.

Reedsy book proposal template (not as detailed as Rein and Larson’s book but still useful).

Start Here: How to Write a Book Proposal + Book Proposal Template, Jane Friedman’s (a useful post on writing a book proposal with strong and weak examples).

Should you self publish or traditionally publish, Jane Friedman

(Jane’s blog is excellent and such a useful resource for authors!)

If you decide to buy based on the links in this post, I may receive a small commission. I only recommend books that I think my readers will find useful.