Category: Writing

I once spent three days editing a debut novel where the author had clearly spent more time reading travel brochures than actually observing the world. Every single page was choked with adjectives—the cerulean sky, the fragrant jasmine, the ancient cobblestones—until the setting felt less like a living environment and more like a heavy, expensive velvet curtain suffocating the characters. Most writing gurus will tell you that sensory detail is the magic key, but they forget to mention that if you don’t know how to write about place with surgical precision, you’re just inflating your word count and making your future…

I once spent three weeks editing a debut thriller where the author had clearly spent too much time watching prestige cinema and not enough time actually writing. Every single page was choked with adjectives; the protagonist didn’t just walk into a room, they “navigated the amber-hued, mahogany-scented sanctuary of the study with a heavy, melancholic gait.” It was exhausting to read, and frankly, it was a waste of the publisher’s budget. Most writing gurus will tell you that sensory detail is the soul of fiction, but they forget to mention that when you overstuff the prose, you stall the narrative…

I spent three hours last Tuesday staring at a manuscript where two characters were essentially having a polite, grammatically perfect debate about the weather. It was excruciating. Most writing gurus will tell you that you need to study linguistic phonetics or spend months eavesdropping in coffee shops to master how to write dialogue that sounds real, but they’re selling you a fantasy. In reality, if your characters sound like they’re reading from a well-manicured instruction manual, an editor is going to flag it immediately—and you’ll be the one paying for the extra round of revisions to fix it. I’m not…

Stop looking for a “magic ritual” or a spiritual breakthrough to help you figure out how to edit your first draft. Most of the writing gurus will tell you that you need to find your “inner voice” or wait for the muse to return before you can touch a red pen, but that is expensive, romanticized nonsense. In my twenty-one years of looking at manuscripts—both the ones that went to print and the ones that died in a drawer—I’ve learned that editing isn’t about inspiration; it’s about brutal, structural triage. Your first draft is a collection of raw materials, and…

I once spent three weeks staring at a manuscript for a client who was convinced that because he’d lived through the events, he didn’t need to worry about narrative structure. He thought the difference between fiction and non fiction was simply a matter of whether or not he was allowed to lie, but he was wrong. In reality, if you treat a memoir like a police report, you’re going to bore your reader into a coma before you even reach the second chapter. Most people think the divide is about truth versus imagination, but after twenty-one years in the slush…

I spent three hours last Tuesday staring at a manuscript for a mid-list business author that was essentially a graveyard of clichés. Every time the writer tried to make a point, they leaned on a generic, “imagine a scenario” anecdote that had all the teeth of a gummy vitamin. It’s a common trap: people think they’re being illustrative, but they’re actually just padding the word count to meet a deadline they haven’t properly budgeted for. They don’t realize that knowing how to use examples well isn’t about adding more bulk to the page; it’s about knowing when a specific, sharp…

I remember sitting in a windowless editorial office in Soho, nursing a lukewarm tea and staring at a manuscript that had been described as “transformative” by its author. It wasn’t transformative; it was a structural disaster held together by purple prose and misplaced confidence. People love to tell you that writing is about finding your muse or waiting for the lightning bolt of inspiration, but after twenty-one years in the trenches, I can tell you that most of the time, you’re just making common mistakes in creative writing that make an editor’s eyes glaze over before page ten. It isn’t…

I’ve spent twenty-one years sitting on both sides of the desk, and if there is one thing that makes me want to close a manuscript and never look back, it’s the “scenic route” opening. Most writing gurus will tell you to build atmosphere or weave a delicate tapestry, but in the real world, that’s just a polite way of saying you’re wasting the reader’s time. If you are struggling with how to write a compelling introduction, stop trying to be poetic and start being economical. An editor isn’t looking for a slow burn; they are looking for a reason to…

I am so tired of seeing “productivity gurus” sell ten-step morning rituals that require a $200 sunrise lamp and a meditative retreat in Bali. If you actually want to make a living from your words, you don’t need a spiritual awakening; you need a calendar that doesn’t lie to you. Most of the advice floating around the internet regarding tips for developing a daily routine is designed to make you feel inspired, but inspiration is a fickle client that never pays its invoices on time. Real productivity isn’t about finding your “flow state” while sipping artisanal matcha; it’s about the…

I spent three years in a windowless editorial office watching mid-level marketing gurus preach that “how headlines are written” is a mystical art involving psychological triggers and complex algorithms. They’ll charge you three thousand pounds for a “branding workshop” that essentially teaches you how to use more adjectives. It’s a lie. I’ve sat in those late-night production meetings, staring at a screen until my eyes blurred, realizing that a great headline isn’t a magic spell; it’s a functional piece of architecture designed to bridge the gap between a reader’s curiosity and your actual content. I’m not here to sell you…