Clark Chamberlain and Peter Turley discuss how to edit the major Point of View styles: including 1st person, 3rd limited, and 3rd omniscient.
Learn what to keep and what to change in your POV and deliver a smooth reading experience.
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Clark: Welcome to the Book Editor Show. Today we are discussing how to edit the major point of view styles, including first person, third limited, and third omniscient.
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I’m Clark Chamberlain, and he once did a line edit of Finnegans Wake in Latin, while scaling the Empire State Building blindfolded. He’s my friend and co-host, Peter Turley.
Peter, what’s going on today?
Peter: I’m really good; I’m recovering from that, to be honest.
Clark: That was quite a feat.
Peter: Editing while scaling the Empire State building can really tweak your shoulder. [laughs]
Clark: [laughs] I bet it can. I’m glad it worked out very well.
Peter: So what have you been doing?
Clark: Oh, you know, nothing like that. I’ve been sleeping in until 8:30. [laughs] It’s been kind of a lazy last couple of weeks. But getting back going.
I just got another little office space in a little business development center, because they have the fiber-optic Internet. It takes me like a week to load up one of these video courses that we do. Then of course it takes all my Internet away. No one can use the Internet in the house while it’s working.
So I got this little place, and now I can go over there and in within an hour I can have a whole course loaded up. So I’m really giddy.
Peter: Don’t even let people walk past the router. Don’t breathe on it.
Clark: No. Don’t do anything. Don’t even look at opening Netflix. That’s going to ruin everything.
Actually, that is kind of a problem, because you could have a little power bump or something just goes off and then it disrupts the load. Then all of a sudden you’ve got to do that entire video section over again. So it was really a frustrating deal for sure.
Peter: That’s good then, that this new place is working out.
Clark: I’m really excited about being about being able to get the courses up. I’m excited because we’ve got some new stuff coming out for everybody and it’s going to be fun to have it out there and see what people think.
Peter: Being up at this time of the morning isn’t getting in the way of this exuberance? Because duty is called a little earlier than usual today, hasn’t it?
Peter: It’s not even 8 a.m. I think for you, or something, now.
Clark: No it’s not. It’s early, but today’s a busy day. I’m doing a lot of work with some different authors today. So this is the only time to get in here and get this done, but it’s nice to get up in the morning. [laughs]
Peter: That must be some strong coffee to be straight out of bed and then straight into discussing viewpoints.
Clark: Well, yes, because I find that if you just get your coffee and then mix it just with a slight little bit of meth, that it’s all good to go.
Peter: Yes. [laughs] That’ll do it.
Clark: Good to the last drop.
Let’s get into these. This has been a lot of fun working through some of these ideas actually. Just finished the point of view course, like two weeks ago, that we’re putting together with the writing fiction fundamental master classes. This is one of the things that seems to catch authors off guard. It’s something that you kind of forget about as you’re writing through. You pick whether you’re doing a first person or third person limited — is usually the two most popular — there are some rules here, and some things that we kind of forget about. So I hope we can get through this today so that for our good listeners — that you can go and take this information on the book you’re working on, and maybe it gives you a couple other things you hadn’t thought of before.
Because point of view really does give you some different places that you can play, and I think it can be a lot of fun. We’re going to start off with first person today. We both have some different thoughts on these things and we’re just going to go through them and talk it out like we normally do, and hopefully make some sense.
Peter: The last thing you want is to be 10-20,000 words deep and realize that another point of view would have suited you better.
Clark: Which is actually really true, because when you’re selecting a point of view, it shouldn’t just be about your preference as an author. It really should be about how to tell the best possible story.
This can be a lot of fun and there’s a lot of different ways and we’re even going to talk about third omniscient, which is really unpopular right now; you don’t find it in mainstream fiction, but of course, you know, I think we’re going to see pendulum swings back and forth. I think we could see that in the next 40 years, that that’s going to become really popular again, because it’s a really cool way to tell a story.
One of the things that I was thinking about for first person though, as you’re going through and editing, is that you’re really making sure that that first point of view character — the POV character — is the actual character, not just you, the author, and that when they react to things that they are reacting to it the way that that point of view character should react. It’s really important when you’re in that first person point of view is that that whole story is being told by that character, which means that when they walk into a room and they see a person for a first time, or a situation happens to him, that they need to respond in the way that that character is always going to respond.
Peter: Yes. This is going to be the first thing to show you that you don’t have a strong character — if that’s an area you’re struggling with. Because as you just said, you really need to have a strong character voice here. The more vivid and alive your characters are, the more that’s going to benefit you with first person.
Clark: One of the things that I’ve seen with first person when it comes across is — sometimes it ends up just sounding like the author. I want to be clear here and it’s early in the morning, so I’m not sure that I’m being clear. [laughs] But I’m hoping that I’m being clear here, in saying that you’re writing something down and that sometimes we have a habit of having our own voice as the author slip in to the character. When they look at something…
For instance, let’s say that you’re trying to move the plot forward and you’re like — this character needs to respond in this particular way.
Really, when you’re the reader, you’re getting to know this character like — I don’t understand why this character would be respond this way in this situation; it seems out of character.
That’s one of the biggest problems that you can have with that first person is that you really need to make sure that your plot is aligning well with your character’s decisions, and you don’t feel that the character is being pulled along by the plot, that they’re actually making decisions based on their personality that you’ve created.
Peter: Yes. That’s a really great point, and it’s a trap that’s easy to fall into when you’re writing in the first person. A positive is that it’s potentially quite easy to write in because we’re so already used to telling stories in first person. Like, whenever we relay a story to anyone, we generally tell it in first person. Unless we’re a bit strange.
Unless you’re consciously choosing to have an unreliable narrator like Cather in the Rye, or something like that, where there might be an intentional disconnect between the wider world of the story and what the main character is saying.
Unless you’ve really set out to do something like that, you have to be considering — how should the character be reacting here? — and having a strong character is the way that you’ll generally not trip up over this.
Clark: Also remember there is a difference between having a biased… Because every first person narrator should be biased, because they’re telling the story from their point of view. It doesn’t mean that they’re going to be unreliable though. There’s a difference between those two.
One of the things that has struck me when I was doing a lot of additional study for this course I was putting together for the point of view, is the idea that you as the author aren’t telling the story. It’s the character who you’ve chosen to do the point of view who’s telling the story. It’s really important to make sure that you understand that character really well.
Peter: That intimacy that the reader’s going to get with that character through a first person story, is the strength of it and that’s who they’re reading the book for and who they’re going to read the sequels for is to return to this character because you’re so much closer to them than any other viewpoint, that that’s who they want to spend time with, they don’t necessarily want to spend time with the author. In fact, the author needs to be pretty removed from the whole process.
Clark: Exactly. That emotional connection that you’re going to get on the first person point of view is just so intense. As you’re editing through there and if you’re finding that your first person narrator is being really closed off, maybe that’s a clue that you’ve picked the wrong point of view to tell the story from, because that first person narrator really needs to be telling this. Remember they are telling the story. They are the ones who are telling the story to the reader.
Most likely that’s going to be an intimate situation, kind of between two friends almost, in a way, really close friends, and they want to share all of the stuff that’s going on in their life and what’s happening to them.
Peter: I think in the opening of Catcher in the Rye, he relates to the reader as if they are a close friend and it is that bond that you try and create. I think taking the time to just sit down and consider what story are you telling, is the first step to determining which one of these you’re going to use.
There’s things that you can do and there’s things that you can’t do. But there are workarounds for each. For example, with first person, you generally are only going to have one view point character. This character’s not going to know what other characters are thinking, which can limit your scope within storytelling. But you can break these rules, for example, fantasy — perhaps the main character has a particular ability where they can hear the thoughts of other people. So there are workarounds, but it’s going to be harder to use a workaround if you’ve chosen the wrong one in the first place.
Clark: When you’re editing your manuscript and you already have your first person manuscript complete, that’s one of the things that you can be looking for, is that you’re making sure that you are attributing it correctly when you talk about other people’s feelings. The first person narrator doesn’t know that. The first person point of view character doesn’t know unless they are a mind reader or having an ability. They don’t know what that other person’s actually thinking, so that when you’re saying that another character is thinking something, that they “seem” to be thinking this, or that they scrunch their nose up, “seeming to say this.”
We want to make sure that we don’t tell what the other person is thinking, because we don’t know that as a first person point of view character. We can’t actually know the intimate thoughts of the other person and so we need to make assumptions; we need to say things like “seem.”
These are little tiny things so that we make sure that the reader doesn’t feel like they’re doing something that’s called “head hopping” or that they’re breaking point of view character.
Peter: Everything that they’re experiencing is coming through the lens of that character, which can sometimes say more about that character and the way they’re perceiving things, than necessarily an objective truth to the situation, and everything is generally subjective.
Clark: A lot of the things that I’ve been thinking about lately. We’re all naturally storytellers. That’s what we do as humans; we do this. I’m a huge fan of learning more about the psychology of human thought and why we do things and everything that happens as humans. I was watching — his name’s Jason Silva — and he was doing this thing about talking about how we perceive people. Like the mask that we put on, how we act a lot of times is not how we see ourselves. It’s not how you see me; in fact it’s how I think you see me.
That can be a lot of fun. Don’t be afraid to really dive deep into the psychology of people. That’s one of the cool things that you can do with this type of story and especially in the first person, is you can really get into that insecurity of the human psyche and how they’re responding to what they think other people are thinking about them, not the actual thing that they’re being thought of.
Peter: You put that so clearly. [laughs]
Clark: [laughs] Didn’t I?
Peter: — this time in the morning. As soon you started I was like — this is going to be complicated. But that made perfect sense.
And that is such is such a clever way to use this view point, and that’s what you want to be doing and think — I’ve chosen this viewpoint because I really want to do something with it and use it to its full potential.
Clark: There’s no wrong viewpoint for what you want to do; you just need to figure it out, and if you’re going through and you’re — oh, man, that’s going to be tough — like if you’ve got your entire manuscript done and you’re looking at it and you’re like — wow, I really did pick the wrong point of view to go with.
But you know what — it’s a good time to change it, because you don’t want to be like second or third book into a series, and then you’re like — I’m going to change things up and add another character’s point of view in here into my first person POV, because that really tosses the reader through a whole… They’re like — this doesn’t make sense. This isn’t goes on.
Peter: To do something like that, you just have to do maybe like an off-shoot series that just followed one character. Because you can do, for example — I guess you could have a first person story with different characters throughout the book told in their perspective, but that’s going to be hard to do.
Obviously we don’t ever want to say you can’t do these things. If you feel like you can do that and you can make it clear to reader that you’re going to have different characters in this book, then yes, run with it. I think it is just the awareness that these are potential pitfalls.
Clark: They really are, and it depends on which way you want to go with it. Maybe the third person limited is a better point of view because it’s easier to switch between different characters.
Let’s talk about that. We can have in the third limited, which is really a popular format right now, one of the things that I see, and again, we’re talking about, let’s say we have multiple points of view through the story — you’ve got two, three characters in there that you’re switching between — and one of the things that I see that happens a lot is that we have what’s — I’ve mentioned before — is that “head hopping” it’s that we’ve jumped from one character’s point of view to another character’s point of view in a way that is unsettling. Like all of a sudden, I was with character A and now I’m with character B, and it can really pull the reader out.
That’s one of the first things that you want to look through. If you’re doing limited third and you’ve got multiple points of view, is that you have a clear way, a clear set of rules for the reader to understand when you have switched point of view. Whether that’s, like if you do with George R.R. Martin’s “Game of Thrones” like, each chapter is just one point of view character. You’re not going to get two point of view characters in the same chapter, even if you have characters which are major point of view characters in there, you’re still only going to stay with one of them. That could be a clear way.
Another clear way could be that you do an extra return, space, to leave an additional paragraph space for the reader if you’re switching up in the chapter, or you use asterisks or something that’s a visual cue for the reader to know that you have switched with another one.
Then following up with that immediately is that you want to be able to identify usually within the first sentence, with both a character’s name and then try to toss in a character feeling.
So let’s say that you were with Sue — Sue is the point of view character — and now we’re going to switch to Bobby.
The next line, maybe you do an extra space or something and then the next line would be — “Bobby felt the cold handle of the doorknob as he turned it.”
It would be something as simple as that that we cued in the reader that we’ve switched point of view, we’ve switched who’s having the feeling now, and we’ve moved forward.
Peter: There’s nothing more dizzying than getting into the second sentence of a paragraph and realizing that it’s a different character, but not clearly, you’ve realized just simply through the fact that it was confusing you.
That’s one of the most important things to look for.
This is a powerful viewpoint, because we’re so used to it now, because as you said, it’s really popular and everyone’s using it. So the readers at the minute are really used to this. So it is comfortable and it kind of feels like home, feels like a familiar book.
Even the best authors at the minute are still having clear breaks; they’re generally using chapters to stick to a particular viewpoint, because it’s the cleanest way to do it. But I also like that because you then get your favorite characters and you get your favorite chapters.
I had this with one of Joe Abercrombie’s books, and I would look forward to an upcoming chapter. It was a great way to get through longer works of fiction, because you’re like — oh, in two chapters I’m going to be back with this character. So it’s like — I’m going to read these and then I’ll be back there.
That’s not necessarily that I just want to read a first person book from that person. But I think it is worth noting that everyone at the minute tends to be going for the clean style of change of viewpoint with each chapter.
Clark: It’s a really great way. Like you said — hey, in two chapters I can get this.
One of the things that you want to be aware of in your manuscript is that you’re making it clear that there’s a rhythm that’s happening here.
So let’s say, for instance, my Hank Hudson, the first one — I’ve got one viewpoint switch, but it was a very small one, and so I didn’t want to have… You can’t just have a single chapter of like, someplace like just randomly in the middle or something like that, where you switched one viewpoint character, because it feels off.
If you’re only going to have one switch — like in the first Hank Hudson book it was right at the beginning and right at the end; it was book-ended in between; the epilogue and the prologue had different point of view, but everything inside was just the same point of view. You want to establish kind of a rhythm.
So let’s say you’re doing two or three characters — is it every other chapter? If it’s two characters, do they switch every other chapter? If you have four characters, does this character appear 25% of the time? Is this character in here and how much?
Make it clear so it feels like they can develop a rhythm to book and to the story. It doesn’t mean that it has to be — every fifth chapter is this character — but it’s something that’s close to that where it makes sense of when it’s going to happen.
Because there’s nothing worse than… Like you were saying, you’ve gotten into character that you’re really enjoying and all of a sudden they only are in the first third of the book and then they’re not in the rest of it. It can be really disappointing to the reader. When is the next chapter coming up with this guy? My favorite character, where is he at?
Peter: Bringing up Joe Abercrombie again, he does this really well. With him, when you’re going back in your editing your chapters and your different viewpoints, it’s a really great time to think… Choosing this viewpoint is really great if you’ve got distinct characters with different voices; it’s flexible, you want to tell a few different plot lines that are in different locations — so there’s a separateness to each of these viewpoints and chapters.
When you’re editing and you’re going through it, take a look at it and think — can I write this a little bit differently? Can I have a different voice come across? Perhaps a different writing style?
Joe Abercrombie does this really successfully, and it’s a great place to start if you want to check this out. The writing style even differs slightly between the different characters in the way he’s telling the story. That’s just really grounding for the reader, to say — you’re in this character’s viewpoint.
When you’re going in and you’re looking over it, maybe just think — is there a way I can do this? Is there a way I can make this theirs? Make this chapter theirs? Or make this scene feel like them?
Clark: Say for instance, with dialogue. Having particular words that only certain characters use can be a really great cue for the reader to know that we’re in this particular voice. The same thing you can use with just your prose, your in-between dialogue, that if they were in that point of view, how does that person… Again, how is it that this character is seeing things?
And just like we were talking about with first person point of view — it’s the character. If it’s limited, if a really close limited, then you can do this, and you can have it be that character, and using more of that character’s voice even in the prose that you’re putting in the rest of the book.
It can be a great way to connect the reader to that actual spot in the book, which can be a lot of fun, and it’s a good way to take a look at — when you’re going through your editing process again, that you are looking for to make sure that that character is being adequately represented, that they’re actually noticing things that they would care about, that they’re responding to things that matter to them, that you’ve got a full developed character in that point of view.
Peter: Perhaps even taking advantage of… Because this is more intimate than the next one that we’re going to talk about, which is omniscient, which is probably your easiest for getting a character’s thought across that another viewpoint character doesn’t know.
But in limited, you can still insert character thoughts and do things that let the reader know something that a character doesn’t. There are things that you can do that can distance the viewpoint character from the wider plot in this viewpoint which I think is really powerful.
Clark: If you haven’t started writing, or you’re looking at changing over, this can be a very fantastic point of view. Like you say, you’re not as close to the reader, you can have some more emotional distance there, but you can still stay close to some of the thoughts, you can tap into the character. We can see things from different points of view, even in pretty close proximity to one another, which can be a lot of fun, and we can make it make sense for the reader as to why this is all happening.
This is a great storytelling element if you want to have multiple point of view characters in it and you want to tell a really rich story.
Peter: Yes. And if you’re looking for an example of this done well, I’d say, commercially, check out the Harry Potters. That’s third person limited done textbook. So if you’re looking for an example of this then check those out.
Clark: A couple of books in that series have — because we get a Snape perspective; we get one other perspective in the fourth book — just did a couple of times where we’ve switched perspectives but it doesn’t happen very often. But we still get so much information. We’re learning so much and we sometimes even get some narration in there that’s real clear narrator.
It can be a fun way to do it.
Peter: Like you get scenes in the prime minister’s office, and different locations, and it’s great to use this tool to move away and tell a scene from somewhere else that’s relevant to the plot. It doesn’t necessarily mean that you jump in all over the place every chapter — if that’s what you want to do and you’re half telling an epic then go for it.
Like we said, this also counts if you just want to go off somewhere every now and then and show something that’s happening in the sidelines.
Clark: And you don’t have to be totally fully immersed like in what you would do a first person point of view character. When you switch these point of view characters, you can have — Harry Potter’s the only one that we would get thoughts on; he’s the only one who’s having thoughts that we can tap into. All the other characters that we switch a point of view to are just there for a different — so we can go someplace that Harry’s not. Because the rest of the time Harry’s everywhere we’re at.
You don’t have to develop each of these point of view characters where you get into it and then like you’re getting all the thoughts and everything that’s going on inside them; they can just be a very blank canvas point of view where we can learn some additional information or get to see something different.
Which rolls us down to the last one, which is third omniscient. This is a really difficult one today, because people aren’t used to it. If you decide to write like this today, people are going to kind of feel a little turned off by it, just because it’s not one of the normal ways that we’re reading today.
But it can be a lot of fun. You actually get a true narrator in this type of story, and that narrator you can develop a unique voice that’s separate from everybody else, and what does that narrator care about when they’re telling the story. It can be a lot of fun when you can put together something like this.
But again, it comes down to two things that I’ve noticed in the one that I’ve worked on, is that you need to be clear on your rules. Like how do you switch to dive into someone else’s thoughts? How does the reader feel when you’re moving around with different characters and what does that look like when you’ve moved from one room to another and you feel like you’re following character A and then all of a sudden you’re with character B? You have to be very clear in your rules and how you’re switching.
Also again, developing a true voice for the narrator, that they are very unique and different from how any of the other characters sound.
Peter: It’s a real storytellers tool, this one. And it is a classic approach. It’s good for if you have multiple plots and you really want to tell a broad perspective, or if you want to have — I should say — a distinct narrator. Perhaps someone non-judgmental, reliable who was perhaps in the events and is retelling them to a reader and it gives it that storytelling feel, that kind of campfire feel. That’s really useful.
Also, if you want the reader to think that the main character might… If it’s distinctly not the main character that’s telling the story, then the main character might die, and this is a good way to get that across.
But conversely, if it is the main character telling the story, then as we’ve said before, they obviously didn’t die, which is worth considering who’s your narrator going to be.
Clark: Yes. Because in the first person narration, first person point of view, that character should not die, because they should be the one who’s telling the story. That’s actually one of the things you’ve got to make sure — sometimes we have that story where the first person narrator is telling the whole story, and they are dead, like the entire time type of thing. But having them die at the end is really difficult.
Whereas, exactly like you are saying, if you have just a narrator who is a bystander, or not even named, that they can be telling the story and then of course we can put our protagonist into more peril because we don’t know how things are going to turn out.
This can be another fun way, like if you’re going through and you’ve used this and you’re like — I don’t think I’m developing a strong enough voice, then break the fourth wall; make sure that the reader knows that the narrator is telling them the story. Be ridiculous to say, but you know what, I’m not going to tell you that part yet, because that would spoil everything. Just really play with it. Know that this is a fun time that you can really get into the whole experience of telling a story, with this type of narration.
Peter: It’s certainly the most flexible. It can be really fun; it can lead to some really suspenseful, atmospheric writing. You can tell the reader things that the main character doesn’t know and really up the dramatic irony, and build the tension of when a character is approaching a situation that you already know is coming, you can really have those edge-of-the-seat moments. This just is, it’s the least intimate, which must be considered, but probably the most flexible.
Clark: Because you’re not going to be able to come into this story as a reader and really connect deeply with any one of the characters. The reason — again, not intimate, because you’re not going to be able to… Yes, you can get thoughts and emotions and feelings, but you’re not getting them in the same way that you’re going to get them in first person point of view or third limited, where you feel like you are being let in on a secret. Because you’re getting everything; you’re knowing all of it.
The narrator and third omniscient could be comparing two characters’ feelings with each other, that they don’t know about — again, the dramatic irony, is that these two people, they have become misunderstood and it’s this big huge mess that they’ve gotten themselves into and it’s comparing the two feelings back and forth, and why can’t they understand each other, and then moves on, or something like that.
You have to be very clear in this, that this the type of story that you want to tell. I hope you can see that each one of these gives you the ability to tell a story in a particular way and that’s why it’s so important that you’re not just picking a point of view because you find it’s what you like to read or what you find interesting. You’re really choosing this point of view character to tell your story because it’s the best way to tell this particular story to this particular audience.
Peter: Maybe you have a character that’s telling the story who was the main character. It’s a framing device, and they’re telling it because events are perhaps going to catch up to the present and then it’s going to move on from there. As we said at the beginning of this, what story are you telling? If you can answer that story then you’re going to find it much easier to choose a distinct voice to use. As Clark said earlier, none of them are wrong, and they’re all fantastic and fun and to some degree, familiar to readers. It is just about picking one and enjoying the process of writing and editing it as well, and feeling that it’s one that you’re comfortable with yourself, and you fall into it easily, perhaps it comes more naturally. You’ll find that you have an affinity to one over the other maybe.
Clark: When you have that manuscript and it’s finished and you’re editing it, this is a really good time to make sure that you’ve brushed up on the rules of the particular point of view that you decided to use, and if you’re breaking some of them, that you understand why that you’re breaking it, and that you’re deliberately making sure that you’re doing that; it’s not an accidental thing. Using your beta readers to make sure that you don’t have spots that are really confusing, or that you’re head-hopping or that you’re giving away too much information that that character wouldn’t know.
You have to think of each one of these as, again, point of view.
If I’m standing on a tall building, what can I see down far below?
My point of view becomes more narrow at that point if I’m really close in a scene, having a conversation right across from someone. My point of view is different. What am I paying attention to if I’m telling the story.
If I’m the omniscient guy who’s sitting high up above me in the room, then I can see different things. Again, we’re talking about point of view, and what that person that the point of view character is interested in — what are they going to notice?
What is the point of view narrator going to point out to us if you’re doing the third omniscient?
All of this stuff you need to think about when you’re in your editing process to make sure that you’re following this so that it’s a smooth ride for the reader.
Peter: It’s sometimes useful to think when I’m going through and looking at things — where was the camera? Does the camera loosely hover around and pass between different people? Is it attached to one person’s shoulder and never leaves them? Or is it attached to someone’s shoulder but occasionally is attached to someone else’s.
Maybe visually considering it in this way can help you determine what you’re reading or what you’re writing, and which one of these is being used.
I’m excited we’re going to have… If you really want to get into point of view and understand more of it, our new writing fiction and fundamentals courses are going to start to be live within the week, whether it’s on Udemy.com or I’m just putting it up on our own site. You’re going to be able to dive into these and really get deep into understanding, not just at a basic level, but a really advanced level, on how these techniques work and how you can put it to work in both your editing and your writing process.
The awesome thing about these, is just ask us a question, we’ll help find the answer and add that to the course. So it can be like a real classroom experience. It can be a lot of fun, and I’m excited to be sharing those with you in the very near future, here.
Peter, do you have anything that you want to add, in closing this up today?
Peter: Look out for the upcoming courses. I’m looking forward to hearing which bits of this work for people and what people are struggling with and getting to work at solving those struggles and helping everyone write the best story and edit the best story that they can.
If you’ve got any of those questions, please drop a comment there on thebookeditorshow.com. Also, if you enjoy the show, leave us a review on iTunes, a Like on YouTube or a Plus on Google. Also, come by and Like our Facebook page and share it with your author friends.
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I’m Clark Chamberlain, and for my co-host Peter Turley, keep writing, keep learning, and build a better book.