FOR EDITORS, PROOFREADERS AND WRITERS

If you write fiction, chances are your characters will be thinking. This article shows you several different ways of conveying what’s going on in their heads.

First off, there is no rule. Instead there are standard ways and not-so-standard ways of conveying thoughts in fiction.

Rules are problematic because they lead writers down a prescriptive road that can render their fiction difficult to read, and lacking in aesthetic on the page.

Method 1: Quotation marks
The Chicago Manual of Style (CMOS) has this advice (13.43: ‘Unspoken discourse’):

This is undoubtedly my least-favourite option. ​I recommend you use the speech-mark style with caution. I can’t remember the last time I saw this approach used in commercial fiction coming out of a mainstream publisher’s stable. That doesn’t mean it hasn’t been, of course!

I dislike it intensely, and many fiction publishers seem to be choosing other methods by preference, but those aren’t good reasons to avoid it. Your style is your choice. The best reason for avoiding it is that using speech marks could confuse your reader.

The beauty of speech marks – or quotation marks – is that they indicate speech. When you put speech marks around a character’s thoughts, your reader will immediately assume they’re reading the spoken word.

Look at the CMOS example above. Only when we hit thought Vera do we realize she’s not speaking at all. She’s thinking.

Some authors might be tempted to use a different speech-mark style to indicate a thought. Again, this is confusing. Your reader might assume that you’ve not edited for consistency, as this example demonstrates:

If, like me, you want something a little cleaner, something that won’t pull your reader out of the story because you led them down a speech-based garden path only to pull them up short at the gate, here are a few alternatives.

Method 2: Italic text
You can render your thoughts in italic text. For short thought streams, this is a common approach.

Let’s return to the CMOS example and see what it looks like:

The advantages of this style are as follows:

• It’s a standard approach that readers will be familiar with.
• There’s no confusion. It’s clear that Vera’s not speaking out loud because the speech marks have been omitted.

However, some readers find that large chunks of italic strain their eyes. I’m one of them. I’m much more likely to skim over huge passages of italic because it’s not a pleasant reading experience.

If that text is masking a clue, or a key character trait, information about an important event or something else that holds the plot together, it’s essential that the reader accesses it.

Look at the Vera example again. There are two thought tags – thought Vera and she told herself – just to ram the point home that she’s thinking. Some readers and writers might consider two tags overkill, but they do help to break up the italic text and don’t jar as much as they might.

But imagine if Vera’s thought stream had gone something like this:

That’s a lot of italic to get one’s retinas around. If you have a long stream of consciousness, you might prefer another method.

Method 3: Normal body text
This style forgoes speech marks and italic, and sticks to normal text. This is how it looks with the longer Vera example:

The advantage of this style is that it’s easy on the eye. However, some readers might be jarred by changes in tense.
 
If your narrative is set in the past tense and set in the third person (as in this example with Vera) and you use the same text style for present-tense direct thoughts, then in a longer thought stream you could pull your reader out of the story.
 
And if this happens frequently, your prose will be riddled with flip-flopping tenses that are at best frustrating and at worst confusing.

Method 4: Free indirect style
Another option is to use free indirect style (sometimes called free indirect discourse or free indirect speech). This style offers the essence of first-person thought but through a third-person viewpoint.

The advantages of this style are as follows:

• The character’s voice is foremost but gone is the clutter of speech marks, speech tags, and italic.
• The thoughts can be formatted in the normal body-text style but without the risk of jarring the reader because the tense will be consistent with the main narrative.
• The shift away from the thought stream and into the usual third-person narrative is seamless.

Let’s return to Vera to see how this works:

The free indirect style does keep the narrative distance close but it’s still not quite as immediate at the present-tense first person. So is there anything else we can do?

Method 5: Mix it up
A more creative option might be to combine direct and indirect thought styles.

In the example below we begin with two sentences that use the italic style for the present-tense first-person thought, and we retain the thought tags to break up the text.

Then we move into roman text but cast the thought stream in the free indirect style, which matches the main narrative: third-person past tense.

The advantages of this style are as follows:
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• It’s flexible. The character’s voice is foremost throughout. The narrative distance shifts from the immediacy of the present-tense first person but is still close – we’re still in Vera’s head even when we’re in the third person.
• The italic doesn’t dominate, so the text is easy on the reader’s eye.
• Given that the thought stream is quite long, it still doesn’t feel invasive. The shift into free indirect style gives us a breather. This approach might therefore suit you if your character is having an inner rant and the inner turmoil feels overworked.
• We’ve retained the seamless shift back to the main third-person past-tense narrative comfortably.

Summing up
As with many sentence-level decisions in fiction writing, rendering thoughts is about style choices rather than a single prescriptive rule. Choose the solution that fits your story best. This might mean making different decisions at various points in your novel depending on what’s going on.

Consider combining approaches if you have longer thought streams and want to be sure of retaining reader engagement.

And, finally, avoid speech marks when it comes thoughts. They’re called speech marks for a reason and are best reserved for talking and muttering!

Cited works and related resources

• 3 reasons to use free indirect speech
• Dialogue tags and how to use them in fiction writing
• How to punctuate dialogue in a novel
• How to use apostrophes in fiction writing
• Playing with sentence length
• Playing with the rhythm of fiction: commas and conjunctions
• The Chicago Manual of Style, 17th ed. University of Chicago Press, 2017
• Unveiling your characters: Physical description with style
• Why ‘suddenly’ can spoil your fiction

Repetition of key words and phrases in narrative and dialogue can make the reading experience laborious. There are times, however, when saying something more than once works beautifully. It’s time to talk about anaphora.

What is anaphora?
Anaphora is the deliberate repetition  of words or phrases at the beginning of successive clauses for artistic effect. This literary device is often seen in poetic works and in speeches. It’s also common to see it in children’s books that have a rhyming element.

Anaphora – rhythm, emphasis and emotional back doors
First, repetition of words affects rhythm, which can evoke mood: monotony, boredom, excitement, frustration. Emotions transform a story from just words on a page to a reader experience. Plus, rhythmic writing is memorable and digestible, which helps your reader get under the skin of your novel.

Second, anaphora can be used for the purpose of emphasis. We notice repetition and, while it can jar when not used purposefully, deliberate repetition helps your character or narrator to drive a point home.
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Third, anaphora is one of a range of tools that will help you keep your writing tight but emotionally rich. Repetition is used purposefully so that the reader understands what the character is feeling, but via a literary back door.

Anaphora and your fiction’s narrative
Reading isn’t just about ingesting words. It’s about experiencing a sense of place and mood. There are different ways in which a writer can help a reader engage with a character and their story.
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​1. You can tell them what a character’s feeling:

​2. You can show them what’s being felt with action beats:

3. You can nudge them by playing with the rhythmic structures, of which anaphora is one:

None is wrong or right but relying on only one could render your prose dull. Experimenting with different techniques can enrich your narrative.

Anaphora and your fiction’s dialogue
We often use anaphoric constructions in everyday speech, and the fiction writer seeking to mimic that naturally shouldn’t fear using them in dialogue. Here are some examples:

​Note how the repetition adds emphasis and heightens the emotion.
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Take example (1). The anaphora helps us to feel the character’s frustration and hurt. We don’t need an action beat or dialogue tag to tell us this. There’s no need for the narrator to interject with an explanation. We don’t even need to use italic to nudge the reader towards where the emphasis should be placed in our mind’s ear. The anaphoric speech does it all for us.

Here are examples of how the passage might look with extraneous information:

Used purposefully, anaphora can help writers declutter their dialogue. Readers don’t just focus on the words in the conversation: they also do their own emotional imagining. That can be a more rewarding way of engaging with the story than being told what the character must be feeling.

Anaphora, memorability and overuse
Anaphoric constructions are rhythmic, which makes them memorable. That’s why politicians employ them in their speeches when they’re trying to rally the masses, and why children’s book authors use them to help young readers engage with their stories.
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Look how Julia Donaldson uses it to gorgeous effect in The Magic Paintbrush:

Still, in a novel, that memorability can work against the writer. If you overuse deliberate repetition, it could become an irritant instead of an engagement device. Readers will view it as a writing pattern, not a writing tool.

As with any literary device, think about peppering rather than littering your prose with anaphora. That way, you maximize the impact. It becomes just one literary device among others that makes your prose interesting.
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When repetition isn’t a literary device
Sometimes an author can get so carried away with writing that they don’t notice they’ve repeated words. This can make the prose clunky to read. After your first draft, revisit what you’ve written. You might even like to read it out loud or play it through an onboard narration tool on your computer.
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Anaphora is deliberate repetition. It serves a purpose – to evoke emotion, drive emphasis, or nudge readers towards their own emotional imagining. If multiple uses of a word or phrase aren’t serving artistry, recast the sentence.

​Summing up
Anaphora is one device among several that has a place in the novelist’s toolbox. I’m not advocating removing description or action beats – not at all. Rather, I’m suggesting you might like to experiment with anaphora here and there in your fiction.
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If you enjoyed this post, check out my other articles on sentence-level mastery.

• 3 reasons to use free indirect speech in crime fiction
• Dialogue tags and how to use them in fiction writing
• How to punctuate dialogue in a novel
• How to use apostrophes in fiction writing: A beginner’s guide
• Playing with sentence length in crime fiction. Is it time to trim the fat?
• Playing with the rhythm of fiction: commas and conjunctions
• Unveiling your characters: Physical description with style
• Why ‘suddenly’ can spoil your crime fiction: Advice for new writers

If you’re struggling to decide what to call your new editing or proofreading business, here’s a 6-step framework to set you on the right path.

Deciding what to call your editing or proofreading business is part of the BRANDING process and needs careful consideration. Follow these steps to work out what’s right for you.

Step 1: Brainstorm a list of possible business names
Let your imagination fly. Put your silly hat on. Then your serious one. Then your smarty-pants one. Anything goes at this point. This is all about you and what floats your boat. There’s no wrong or right – just ideas.

For demonstration, let’s imagine a new proofreader called Basil Rhoueny. Basil is trying to decide on a business name and comes up with the following ideas:

1. Basil Rhoueny | Academic Proofreading Services
2. Basil Rhoueny Editorial
3. Bulletproof Editorial
4. Comma Sutra
5. Full-proof Editorial Services
6. Norfolk Editorial
7. Perfect Prose
​8. Responsible Editing

Step 2: Identify target clients
The next step is for Basil to identify his target clients. If he doesn’t know who he wants to work for, he can’t create a message that compels them – via his business name, his mission statement, his elevator pitch, his web copy, or any other marketing materials.

And if he doesn’t have a compelling message, why would anyone choose him over any one of the tens of thousands of colleagues who are also offer editing services? ‘I’ll edit and proofread anything for anyone’ isn’t a standout proposition. Basil needs to do better.

Even if an editor is prepared to be something of a generalist, I recommend talking like a specialist when communicating with different client groups. On our websites, that means giving visitors signals so that they can navigate to specialist messaging on different pages that focus on solving group-specific problems.
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Some people know who they want to work for right from the get-go. Some have no clue. Some think they do, but seven years ahead find that they’ve completely shifted their client base. We’ll deal with that issue in Step 6.

For now, let’s imagine that Basil thinks his editorial training, educational background and former career make him best suited to the following client groups:

• academic publishers
• students
• independent academics

Identifying these groups will help him with Steps 3 and 4.

Step 3: Identify core brand values
A brand can be loosely defined as what others think about us – external perceptions. A brand identity is the distinctive business persona we present that nudges target clients to notice the things that we want them to notice. It’s what allows us to influence those external perceptions.

Brand values are the essence of our brand identity. They represent the kind of editorial pro we want to be seen as – the things we stand for, what we’re passionate about, what makes us tick, why we’re different.

Our business name, photographs, colour palette, web copy and marketing materials should reflect our brand values so that the clients we’d most love to work with will most love to work with us.

It’s no small thing to develop a brand identity. If you need help, I have an online course called Branding for Business Growth that can help you develop an emotion-based business brand identity.

Let’s imagine that Basil has identified the following brand values that he wishes to convey at every touchpoint of his business:

• The Editorial Professor – this reflects his desire to proofread knowledgeably and respectfully
• The Green Editor – this reflects his commitment to environmental sustainability and socially responsible, ethical business practice
• The Globalist – this reflects his passion for working with people whose first language isn’t English

Identifying these brand values will help him with Step 5.

Step 4: Serving the client
In this step, Basil revisits his list of business-name ideas and considers whether they’re appropriate for his target client groups: academic publishers, students and independent academics.

1. Basil Rhoueny | Academic Proofreading Services
2. Basil Rhoueny Editorial
3. Bulletproof Editorial
4. Comma Sutra
5. Full-proof Editorial Services
6. Norfolk Editorial
7. Perfect Prose
8. Responsible Editing

He asks himself the following questions:

• Do the business names tell the target client what he’s offering? If people find him online, they’ll likely be deciding in seconds whether he can solve their problems, and therefore whether he’s worth investigating further.
• Is the name available? If existing services exist, clients might become confused about who’s who. Basil’s competitors will be less confused than furious that this newbie is diluting their carefully developed brand identity.
• Will the name be findable by clients who are searching online for someone who can solve their problems?

Names (1) , (2) and (8) best reflect exactly what he’s offering.

Names (3), (5) and (6) are next in line, though they’re less specific.

Name (4) alludes to sentence-level editing work, and some will think it amusing.
However, Basil wonders whether some of his non-native English-speaking clients will get the joke and bypass him.

Name (5) is a problem – there’s an existing established business called Full Proof | Professional Proofreading Solutions.

Names (4) and (7) give him cause for concern regarding their searchability. It’s likely that the words ‘proofreading’ or ‘editing’ or ‘editorial’ will be searched for by potential clients. It’s far less likely that someone will search for ‘comma sutra’ or ‘perfect prose’ if they need proofreading assistance, though they are distinctive.

Name (6), however, might be great for being found in the search engines by local clients.

Basil decides to remove Comma Sutra, Full-proof Editorial Services, and Perfect Prose from the list of contenders.
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Now he turns to the branding issue.

Step 5: Serving the brand
In this step, Basil revisits his list of business-name ideas and considers whether they’re good brand practice. His remaining names are:

1. Basil Rhoueny | Academic Proofreading Services
2. Basil Rhoueny Editorial
3. Bulletproof Editorial
6. Norfolk Editorial
​8. Responsible Editing

He asks himself the following questions:

• Are the remaining business names distinctive? After all, branding is about showing potential clients those things that set us apart from other editors, not what will make us look like every other editor.
• Do they reflect his brand values (BVs): Editorial Professor, Green Editor, and Globalist?

Basil has an unusual name. If he’d been called John Smith, he might have been easy to confuse with other editors called John Smith, at least in the West. However, either of his remaining business names would work.

There is, however, a good chance that his name might be misspelled. Is this something he needs to worry about if people are searching for him by name? This could be an issue if he’s referring someone to his website by phone, or if a word-of-mouth lead is trying to find him.

Here’s a test. Type ‘louise harby editor’ or ‘louis hornby proofreader’ into the search engines. Can you find me? I can find me! I’m not convinced that tricky-to-spell names are as problematic as we might think.

Back to Basil. Name (3) is at odds with the sentiment of BV-Green Editor. This brand value seeks to nudge potential clients towards thinking of Basil as compassionate, respectful, broad-minded, ethical, warm … someone who can see the bigger picture. The word ‘bullet’ might bring to mind thoughts of violence, death, harm and brutality.
It’s potentially a negative nudge rather than one that evokes positivity.

Name (6), while potentially clickbaity for local searches, doesn’t sit so well with BV-Globalist. Basil would be happy to work with local clients, but he’s not sure he can build a sustainable business on this alone.

Name (8) has a definite though subtle nod to BV-Green Editor.
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He elects to remove Bulletproof Editorial and Norfolk Editorial from the list of contenders.

Step 6: Think ahead but don’t get bogged down
Can any of us be absolutely sure that what we want to do now is what we will want to do in the years ahead? Choosing a business name requires us to think ahead, but also to be true to who we are and what we’re offering in the present time.

In case you didn’t spot it, Basil’s name is an anagram of mine. When I set up my business in 2005, I was a dedicated proofreader who specialized in working for social-science publishers. If you’d told me back then that by 2016 I’d be specializing in line- and copyediting for indie fiction authors, I’d have been a tad surprised.

But that’s exactly what happened. My original business name was Louise Harnby | Proofreader. My URL was and still is: www.louiseharnbyproofreader.com. My business name now is Louise Harnby | Proofreader & Copyeditor.

It wasn’t actually a big deal to add an ampersand and the word ‘copyeditor’ into my business name and didn’t affect my findability in the search engines. Would it have if I’d changed it to Louise Harnby | Fiction Editor, or Fabulous Fiction Editing, or something else?

Possibly, but Google Search is a tricky beast to master and shifts the goalposts often in a bid to thwart those who’d use black-hat SEO techniques rather than genuine attempts to be interesting and discoverable online.
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Basil is left with choosing between the following:

• Basil Rhoueny | Academic Proofreading Services
• Basil Rhoueny Editorial
• Responsible Editing

​There are good arguments for the SEO-friendliness of the first two, and the flexibility of the third. My view is that any would work because they are true to his business’s brand identity in different ways.

What’s right for you?
Basil’s brand identity and your brand identity will not be the same because you and Basil are individuals, each with your own businesses, ideal clients, goals, hopes, dreams and passions. The decisions you make will therefore be different to the one Basil makes. That’s fine.

Will there be a perfect solution? Unlikely. There will be choices to be made.

• You might decide it would be to your advantage to have a short name rather than a long one.
• You might choose a little SEO clickbait over humour.
• You might choose a punny name over a more straightforward business name.
• You might opt for flexibility over specificity.
• You might choose memorability at the expense of spellability.
• You might elect to incorporate the essence of your political or social values.

What’s important is that you choose a business name that you feel comfortable with: one that reflects your brand identity and nudges your ideal clients towards an awareness of the kind of editor you are and why you’ll be a great fit with them; one that alludes to what you do.

Here are just a few of my favourites:

• A Novel Edit: Beth Hill specializes in helping authors prepare for submission to agents and publishers. The gentle and humorous play on words in her business name evokes a sense of freshness and vision.
  
• Enigma Editorial: Cally Worden specializes in editing mystery, crime and thrillers. Her business name tells us what she's passionate about. It's also short and snappy, and avoids cliche.
  
• Denise Cowle Editorial: Denise specializes in editing non-fiction for businesses and publishers. Her surname is unusual, and her business name capitalizes on this. We know immediately who we're dealing with, and that makes it personal.
  
• Le Mot Juste: Sarah Patey specializes in non-fiction editing and translation. The business name reflects her language skills and her commitment to detail and accuracy.
  
• Liminal Pages: Sophie Playle specializes in editing speculative fiction. Her business name reflects the pushing of boundaries that exists within the novels she works on. It's also sounds elegant to my ear.
  
• Radical Copyediting: Alex Kapitan specializes in helping authors and publishers use equitable and inclusive language. The business name reflects Alex's values and includes some SEO functionality.
  
• Wordstitch Editorial: Hazel Bird specializes in non-fiction editing and editorial project management. Her business name embodies a sense of editing as a craft, and evokes a strong sense of her commitment to detail and precision.
  

It’s likely your choice will not be clear cut. Try not to get bogged down by that. Business names alone will not make you visible or discoverable. The compromises you make can be offset by other business-promotion activities that strengthen your online presence.

Happy naming!