Recently I had the privilege of chatting with author, recording artist, editor, and someone I’m honored to call friend, Demi Michelle Schwartz. We spoke about her experience so far as a freelance editor for Amethyst Ink. As an editorial agent, I wanted to pick her brain and see what she’s seen on her end. The goal is to give querying authors a checklist to use for their manuscripts before querying.

I asked Demi two questions:

1) What are you consistently seeing authors struggle with?

2) What are you consistently seeing authors do well?

Here is what she said.

What authors are consistently struggling with?

• Lack of interiority. Demi explained what she means by this is the thoughts, feelings and emotional reactions of your POV main character. She said that a lack of interiority risks narrative distance between the reader the and the character. This is problematic because for a reader to care about the character, they need feel connected, not distant.
  • How to spot it. Scene by scene examine your manuscript. If a scene only includes what could be recorded on a video camera, then your scene probably lacks interiority because interiority can’t be visualized.
• • How to fix it. Let the reader inside your character’s head. This is especially powerful when what the character is saying or doing is in opposition to what they are thinking and feeling. Through narration and internal thoughts, readers should know how your character is feeling as they move through the story.
• Setting. Demi explained that she’s seeing authors consistently describe and/or explain setting as opposed to showing the setting through sensory detail and the character interacting with the setting. This is problematic because if the reader can’t experience the sensory detail along with the character, the setting may not feel immersive.
  • How to spot it. During revision, pay attention to places where you are writing descriptions of the setting through exposition or character narration.
• • How to fix it. Try revising so the characters are interacting with the setting instead of describing it.
• Filtering. Demi explained this is when authors use terms such as “I feel, I see, I hear, etc.” These terms filter sensory detail through the character as opposed to allowing the reader to experience with the character. This is problematic because it again creates narrative distance.
  • How to fix it. This is one of the easiest fixes! Simply remove the filtering language. Instead of “I heard a bird chirp out the open window.” Write “A bird chirped out the open window.” Here is a more detailed article on Filter Language.
• Scenes that don’t contribute to plot forward momentum. This is problematic because it can lead to reader confusion, muddling the plot, and bloated word count.
  • How to spot it. Scene by scene, ask yourself, “If I took this scene out, would my reader still be able to follow the story?”
• • How to fix it. If you answer yes to the above question, remove the scene. Hot Tip from another amazing author S.E. Reed, don’t trash the scene. Save it in a Cut Book document. You never know when you might be able to use it somewhere else in the manuscript or in a different project.
• A scene isn’t really a scene. Again, this is problematic because scenes that don’t contribute to plot forward momentum can lead to reader confusion, muddling the plot, and bloating the word count.
  • How to spot it. Writing a synopsis of each chapter is one of the easiest ways to spot this. Because when you write a synopsis, you are writing what is happening. If nothing is happening, then what you’ve written isn’t a scene.
• • How to fix it. Take those inactive descriptions or expositions and either remove them, or have the characters in a scene through action and dialogue.
• Cliché Openings. Demi explained that she sees many manuscripts with cliché openings such as looking in a mirror, waking up, at a funeral, with a dead body, etc. This is problematic because, well, they are cliché. They’ve been done repeatedly. When agents and editors read cliché openings they don’t feel unique.
  • How to spot it. If your opening scene could be the opening of any novel, it’s probably cliché.
• • How to fix it. Make your opening scene as unique as your manuscript. You wrote an entire novel. You can craft an opening that could only be your story.

What authors are doing well.

• Unique plots. Demi said that she’s seeing authors craft truly unique plots that keep her engaged and excited when she’s working on a manuscript.
• Authentic and diverse voices. We are at an amazing time in publishing where historically marginalized stories are rising to the forefront of the industry. Agents and editors are actively seeking BIPOC, LGBTQ+, Disabled, and any and all previously marginalized authors. It’s refreshing and long overdue. Demi said she’s seeing some amazing diverse manuscripts and authors.
• Solid characters. Demi said the manuscripts she’s working on have solid character development. Authors are really stepping up their game in crafting well-rounded characters with agency, flaws, and amazing character arcs.
• Page-turning tension. Tension is tricky, but Demi said her clients are nailing it. Tension is what keeps agents, editors and ultimately readers engaged in your protagonist’s journey.
• Plot twists. If you’ve ever listened to Demi’s podcast Literary Blend: A Publishing Podcast, then you know Demi is a HUGE fan of the plot twist. (If you haven’t here is my interview on her show. If you ever are fortunate to be a guest, don’t say I didn’t warn you. A plot twist will come!) And not every novel needs a plot twist, but a well-crafted one is always appreciated.

I want to thank Demi for chatting with me. If you are an author interested in her expert editorial advice always delivered with respect and kindness, you can find out more on her website.

In closing, I urge you to build your writing community. I’d never be where I am today as a published author and agent without mine!

Alone we can do so little. Together we can do so much. – Helen Keller