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Learn why doing an annual editorial business review is a good, professional habit.
Summary of episode 149
Find out more about the following:
Listen to episode 149Get the podcast book series
These five guides (available in print or ebook) capture the essence of our conversations on the podcast covering five core themes: editorial foundations, growth, sustainability, legacy and marketing. Buy now from from Amazon or find out more about the series.
Support The Editing Podcast
Music credit
'Vivacity’ by Kevin MacLeod
About Louise Harnby
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with crime, mystery, suspense and thriller writers.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP) and co-hosts The Editing Podcast.
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Learn about insurance and what you might need for your editing and proofreading business.
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- Editorial Marketing – speaks to every editorial freelancer who’s ever felt nervous about business promotion, and who wants ideas about how to go about being globally visible.
Is the content identical to The Editing Podcast?
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The content in the podcast is scripted with the spoken word in mind. Publishing those conversations verbatim would not have made for engaging books.
What we’ve done instead is extracted that content and presented it so that the written word takes centre stage. |
So, yes, it’s still our podcast content, but it’s been repurposed and reworked so that it’s book-fit.
How long did it take to create the books?
The answer to how long it took depends on your starting point.
We didn’t write the books from scratch – creating them required having the podcast scripts in the first place. And since we broadcast our first episode in 2019, so you could say the journey started then.
We didn’t write the books from scratch – creating them required having the podcast scripts in the first place. And since we broadcast our first episode in 2019, so you could say the journey started then.
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However, it was 2022 when Denise and I got together for a strategic-planning weekend in Tynemouth so we could review where we were with The Editing Podcast and discuss our longer-term goals.
During the discussion – with breaks for fish and chips, and ice cream … not always in that order – the idea for a book series was born. |
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We’ve spent the past three years doing the following to bring these books to life:
- scoping the themes of the series
- exploring different series names
- developing the cover designs to reflect the podcast branding
- organizing, revising and checking the content
- discovering what we need to do, and what we need help with
- preparing the books for print-on-demand publication.
Did you use AI?
The biggest challenge we faced in making this project viable was untangling well over 100,000 scripted words spread across 145 separate episodes broadcast in no particular order.
Some of that scripted content was irrelevant because it:
Even the content that was relevant wasn’t located only in episodes whose titles made it obvious. It was all over the place! Plus, it was scripted in a way that suited voices rather than books.
Some of that scripted content was irrelevant because it:
- took the form of speaker-identification tags
- included jokes or anecdotes that went off at a tangent
- focused on issues that weren’t relevant to the five core book themes
- included information about how to subscribe to the podcast.
Even the content that was relevant wasn’t located only in episodes whose titles made it obvious. It was all over the place! Plus, it was scripted in a way that suited voices rather than books.
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Initially we embarked on doing that untangling work ourselves. However, it was backbreaking – eye-wateringly inefficient, not to mention mundane.
We realized it would take us years, not months, and the project looked like it might have to be shelved … |
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Unless we got help.
We talked over the options and wondered if AI might come to the rescue. We decided to give it the task of:
That was a learning curve because it took a while to work out how give it the right prompts to ensure it gave us exactly what we wanted. However, it was time well spent because we got there in the end!
So, yes, we did use AI – to analyse our own content and extract the chunks of it that we wanted. From then on, it was up to us to do what we do best …
We talked over the options and wondered if AI might come to the rescue. We decided to give it the task of:
- hunting down where the theme-relevant content was located within all 145 episodes
- extracting the relevant snippets
- and then returning them to us.
That was a learning curve because it took a while to work out how give it the right prompts to ensure it gave us exactly what we wanted. However, it was time well spent because we got there in the end!
So, yes, we did use AI – to analyse our own content and extract the chunks of it that we wanted. From then on, it was up to us to do what we do best …
What Louise and Denise did
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Once the AI had delivered our booty, we spent several months doing the following:
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With that done, we turned to:
And finally, we published!
- creating the prelims, introductions and conclusions
- designing the covers and promotional images
- formatting the interiors so they’re KDP-ready
- copyediting the five manuscripts
- proofreading the page proofs
- sending advance PDF copies to multiple reviewers who generously agreed to cast their eye over the series and provide testimonials (thank you, each and every one of you!)
- preparing our marketing plan.
And finally, we published!
Why bother publishing when people can listen?
Denise and I have always been massive advocates for repurposing valuable content because it respects the fact that people like to get their information in different ways.
Some like to listen. Some like to watch. And some like to read.
Some like to listen. Some like to watch. And some like to read.
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Plus, some of our listeners have specifically asked for books, saying that they love listening to The Editing Podcast, but sometimes they want to revisit a particular nugget but can’t remember which episode it was in.
By reorganizing our conversations into themed narratives, we’ve given people choice. |
How to buy the books
All five books are available in print via Amazon.
Still want to listen? Head over to The Editing Podcast!
About Louise
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with crime, mystery, suspense and thriller writers.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP) and co-hosts The Editing Podcast.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP) and co-hosts The Editing Podcast.
- Get in touch: Louise Harnby | Crime Fiction & Thriller Editor
- Connect: X @LouiseHarnby, Facebook and LinkedIn
- Learn: Books and courses
- Discover: Resources for authors and editors
This post explores how oversimplifications of human motivation as ‘good’ versus ‘evil’ can damage crime fiction, mysteries and thrillers.
In this post
Read on to find out more about:
- the trouble with clear-cut morality
- turning flat caricatures into relatable characters
- exploring justice that reflects reality
- building tension through real-world themes.
The trouble with clear-cut morality
In real life, morality is murky. Few people do harm ‘just because’. People do bad things for complex reasons, and those in investigative roles – and apparently on the side of justice – don’t always behave impeccably.
Compelling contemporary crime fiction tends to avoid rigid binaries that present ‘good’ and ‘bad’ characters, where the villain is evil because they commit a crime, and the sleuth is good because they solve it.
Going down that route can weaken character development, limit emotional relatability and misrepresent how justice manifests in a way that’s plausible.
Compelling contemporary crime fiction tends to avoid rigid binaries that present ‘good’ and ‘bad’ characters, where the villain is evil because they commit a crime, and the sleuth is good because they solve it.
Going down that route can weaken character development, limit emotional relatability and misrepresent how justice manifests in a way that’s plausible.
How to turn flat caricatures into relatable characters
In a binary model, the villain is ‘monsterized’ as inherently bad – the evil psychopath or lowlife. The focus is more on the nastiness they’ve done.
Meanwhile, the investigator is ‘heroized’ as inherently good – the wonderful restorer of order. The focus is on how they’ve saved the day.
However, when you provide a deeper understanding of the reasons why a criminal acted as they did, and when you make space for a sleuth’s flaws, doubts and moral ambiguity, readers are able to access more plausible and fully rounded characters with human backstories and worldviews, however flawed.
Meanwhile, the investigator is ‘heroized’ as inherently good – the wonderful restorer of order. The focus is on how they’ve saved the day.
However, when you provide a deeper understanding of the reasons why a criminal acted as they did, and when you make space for a sleuth’s flaws, doubts and moral ambiguity, readers are able to access more plausible and fully rounded characters with human backstories and worldviews, however flawed.
An example from the bookshelf |
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- Herron, Mick. Slough House. John Murray, 2021. Cover image used under fair use for commentary
Prompt for writers and editors
Check your villain and sleuth. Where are the cracks that could move them away from binary stereotypes and towards human beings that your readers feel compelled to get under the skin of?
Does the sleuth wonder if they're doing the right thing? Does the criminal regret, justify or second-guess themself? Making space for this adds tension.
Exploring justice that reflects reality
Ditching binary models of ‘good’ and ‘bad’ allows you to explore crime and justice in a way that engages readers who’ve experienced systemic injustice in real life, as well as those whose privilege means they haven’t.
For example, a criminal’s actions might stem from something far more alarming than pure greed. It could be grounded in, or driven by, their experience of poverty, fear, abuse, racial- or class-based oppression.
Taking this approach asks readers to consider where biases in the system are, who the establishment serves, and whether equal opportunity really stands up under the microscope.
For example, a criminal’s actions might stem from something far more alarming than pure greed. It could be grounded in, or driven by, their experience of poverty, fear, abuse, racial- or class-based oppression.
Taking this approach asks readers to consider where biases in the system are, who the establishment serves, and whether equal opportunity really stands up under the microscope.
Examples from the bookshelf |
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- Atwood, Margaret. The Testaments. Nan A. Talese/Doubleday, 2019. Cover image used under fair use for commentary.
- Cosby, S. A. Razorblade Tears. Flatiron Books, 2021. Cover image used under fair use for commentary.
Prompt for writers and editors
Check your assumptions. What lived experiences do your villain and sleuth bring to the table, and how do those affect their perception of the crime, evading detection and the approach to the investigation?
Avoid telling readers who’s ‘right’ and who’s ‘wrong'. Instead, show them conflicting perspectives and allow them to decide for themselves.
Ask questions about your perpetrators and your investigators: What does this person want and fear? What trauma or injustice shaped their choices? Who might see them as a hero, and who might see them as a villain?
Building tension through real-world themes
Avoiding traditional ‘good’ and ‘bad’ binaries encourages space for exploring themes that cement tension throughout the novel, and speak to readers living in the world as it is now … or the one it might be in the not-too-distant future.
Through those themes, you might explore societies’ values, and what constitutes criminal behaviour in terms of your own and your readers’ values. Are there are circumstances where bad deeds might be justified for the greater good?
For example, could the perpetrator and the investigator both be grappling with thorny concepts that make who’s ‘right’ and who’s ‘wrong’ ambiguous?
Through those themes, you might explore societies’ values, and what constitutes criminal behaviour in terms of your own and your readers’ values. Are there are circumstances where bad deeds might be justified for the greater good?
For example, could the perpetrator and the investigator both be grappling with thorny concepts that make who’s ‘right’ and who’s ‘wrong’ ambiguous?
- Human comfort versus environmental sustainability: A resistance movement rises against a draconian regime that’s dismantled modern technology to prevent ecological collapse. Is this a fight for freedom or the beginning of a new disaster?
- The right to knowledge versus the threat of chaos: A journalist uncovers the existence of a human-made virus so dangerous that its mere exposure could trigger global panic. Do they reveal the truth or bury it for the greater good?
- Loyalty to the vulnerable versus telling the truth: A detective learns that their spouse has hidden evidence to protect their autistic child from prosecution. Do they uphold the law or shield their family?
- Security versus privacy: A whistleblower leaks details of an AI system that secretly monitors millions. Is it an act of justice, betrayal or both?
An example from the bookshelf |
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- Weaver, Thomas R. Artificial Wisdom: Random House Worlds, 2024. Cover image used under fair use for commentary.
Prompt for writers and editors
Check your underlying themes. Which big-picture questions might you draw the reader's attention to and that don’t have clearcut answers? What happens when the system itself is unjust? What if both the criminal and sleuth are victims of the same failing structure?
Summing up
Crime fiction and thrillers can reveal uncomfortable truths about people and systems. By embracing ambiguity, you can craft more emotionally resonant and morally engaging stories.
To keep your characters interesting and out of binary waters, ask yourself whether the most compelling villain might be one who almost persuades us, and whether the most unforgettable hero might be one who almost breaks our trust.
To keep your characters interesting and out of binary waters, ask yourself whether the most compelling villain might be one who almost persuades us, and whether the most unforgettable hero might be one who almost breaks our trust.
Other resources you might like
- Start Crime Fiction Editing: multimedia course
- Editing Fiction at Sentence Level: book
- Fiction editing line craft: books
- How to Line Edit for Suspense: multimedia course
- How to Write the Perfect Editorial Report: multimedia course
- Narrative Distance: multimedia course
- Resource library
- Switching to Fiction: multimedia course
About Louise
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with crime, mystery, suspense and thriller writers.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP) and co-hosts The Editing Podcast.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP) and co-hosts The Editing Podcast.
- Get in touch: Louise Harnby | Crime Fiction & Thriller Editor
- Connect: X @LouiseHarnby, Facebook and LinkedIn
- Learn: Books and courses
- Discover: Resources for authors and editors
Learn about editorial reports, and whether you should provide them to clients.
Summary of episode 143
Find out more about the following:
- What an editorial report is
- Why not all clients need editorial reports
- What to include in an editorial report
- How long editorial reports take to write
- Why editors should create editorial reports
- Tips for creating effective editorial reports
- Bonus content for Second Cup tier Patreon members: An extra 25 minutes in which Louise and Denise discuss how they approach editorial reporting, taking into account the types of clients they each edit for.
Listen to episode 143
Support The Editing Podcast
- Tip your hosts: Support Louise and Denise with a one-off tip of your choosing.
- Join our Patreon community: Our patrons benefit from access to PDF transcripts for episodes featuring just Louise and Denise, and for some of our guest episodes. Members of our Second Cup tier get extra free bonus content too!
Music credit
'Vivacity’ by Kevin MacLeod
- Link: https://filmmusic.io/song/4593-vivacity
- Licence: http://creativecommons.org/licenses/by/4.0/
About Louise
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with crime, mystery, suspense and thriller writers.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP) and co-hosts The Editing Podcast.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP) and co-hosts The Editing Podcast.
- Get in touch: Louise Harnby | Crime Fiction & Thriller Editor
- Connect: X @LouiseHarnby, Facebook and LinkedIn
- Learn: Books and courses
- Discover: Resources for authors and editors
Learn how to find a professional academic editor or proofreader who's the ideal fit for you.
Summary of episode 142
Listen to find out more about
- different levels of editing
- searching editorial societies' directories
- internet searches
- academic networks
- social media
- subject portfolios
- sample edits
- testimonials
- bonus content for Second Cup tier Patreon members: Louise and Denise consider the importance of considering professional standards when choosing an editor.
Listen to episode 142
Support The Editing Podcast
- Tip your hosts: Support Louise and Denise with a one-off tip of your choosing.
- Join our Patreon community: Our patrons benefit from access to PDF transcripts for episodes featuring just Louise and Denise, and for some of our guest episodes. ‘Second Cup’ members get exclusive access to bonus episodes.
Music credit
'Vivacity’ by Kevin MacLeod
- Link: https://filmmusic.io/song/4593-vivacity
- Licence: http://creativecommons.org/licenses/by/4.0/
About Louise
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with crime, mystery, suspense and thriller writers.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP) and co-hosts The Editing Podcast.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP) and co-hosts The Editing Podcast.
- Get in touch: Louise Harnby | Crime Fiction & Thriller Editor
- Connect: X @LouiseHarnby, Facebook and LinkedIn
- Learn: Books and courses
- Discover: Resources for authors and editors
Backstory helps readers understand why characters act the way they do and what their motivations are. This post offers five tips on how to introduce it so that it enriches, rather than distracts from, the main story.
In this post ...
Read on to find out more about:
- what character backstory is
- drip feeding the information
- using natural dialogue
- interjecting with narrative reflection
- using other characters to reveal backstory
- using sounds, objects or settings as triggers
What is character backstory?
Backstory is the fictional history of a character before the main plot begins. It could include past events, relationships, traumas or achievements that shape their present behaviour and decisions. Backstory should be:
To ensure you hit the mark, think about which of the following mechanisms might work best for your novel.
- Interesting to the reader: It should engage us. Dull or generic backstory risks slowing the pace of the story without adding anything memorable.
- Relevant to the scene: It should be introduced at points where it helps readers make sense of what’s happening in a particular scene, otherwise it will feel like dislocated filler.
- Purposeful to the story: It should serve the story and help readers make sense of a character’s actions and choices.
- Tightly conveyed: It should provide just enough information to enhance the story. Too much backstory could turn into an information dump that encourages readers to scan over it.
To ensure you hit the mark, think about which of the following mechanisms might work best for your novel.
1. Drip feed the information
Think of backstory as the seasoning rather than the main dish. It can be tempting to give readers everything you want them to know about the past in a dedicated and detailed chapter. However, this comes with risk. Your reader, who’s itching to move forward and find out what’s going to happen next, is forced backwards.
The focus is no longer on the now of the novel, but on a different time and space. That in itself can be distracting.
Plus, by giving readers all this backstory in one fell swoop, you could lose the opportunity to introduce suspense, mystery or intrigue.
Instead of an information dump, try instead a brief but telling reference that’s related to the current action.
For example, if your character’s past involves an event that’s made them mistrustful of small spaces, you could hint at this in the narrative, but explain it more fully in a piece of dialogue later on. Here’s how that might look at first mention. The backstory nudge is in bold.
The focus is no longer on the now of the novel, but on a different time and space. That in itself can be distracting.
Plus, by giving readers all this backstory in one fell swoop, you could lose the opportunity to introduce suspense, mystery or intrigue.
Instead of an information dump, try instead a brief but telling reference that’s related to the current action.
For example, if your character’s past involves an event that’s made them mistrustful of small spaces, you could hint at this in the narrative, but explain it more fully in a piece of dialogue later on. Here’s how that might look at first mention. The backstory nudge is in bold.
Baz legged it towards the market square but took the long way, avoiding the alley. Too dark. Too small. He’d never make that mistake again, not after last time.
Ten minutes later he was by the fountain, its mist on his face, the warm glow of festoon lights overhead. He ditched his cap, shook off his jacket and turned it inside out, then melted into the crowd. Just another tourist.
This way, you’re revealing backstory in smaller chunks – ones that invite the reader to think: What happened last time he went into a dark alley?
This builds suspense and leaves readers with questions that you can answer later. And for now, the reader stays in the moment with Baz, running towards the square and finding safety in the crowd.
2. Use natural dialogue
Dialogue can be a superb way of unveiling backstory. Depending on when it comes up, you can drip feed or go into more detail.
The key is to ensure that it sounds natural rather than being a convenient tool. For example, if Marcus already knows about Baz’s fears, the following will feel overworked. The dialogue is for the reader’s benefit only, not what these two people might actually say to each other.
The key is to ensure that it sounds natural rather than being a convenient tool. For example, if Marcus already knows about Baz’s fears, the following will feel overworked. The dialogue is for the reader’s benefit only, not what these two people might actually say to each other.
*** AVOID ***
‘You’re late,’ Marcus said, tapping his watch. ‘I was expecting you five minutes ago.’
‘I came the long way,’ Baz said. ‘After that incident in November 2024 where I was left for dead in a dark alleyway, I’ve not felt able to take the risk.’
Marcus nodded. ‘Yes, I remember the doctor saying you might not make it, that the seventy-three stiches in your head were only a surface indication of the trauma beneath. And your recovery took ... remind me how long it was.’
‘Seven months,’ Baz said.
This kind of dialogue-for-convenience is sometimes referred to as maid-and-butler dialogue. To avoid it, try something like the following instead.
‘You’re late,’ Marcus said, tapping his watch. ‘I was expecting you five minutes ago.’
‘I came the long way,’ Baz said. ‘Avoided the alley. After, you know, last time, I couldn’t bear—’
‘You need to find a way past that, mate. Let bygones be bygones. I get it, but all you’re doing is turning one risk into another.’
Again, this version hints at a traumatic event in the past, but leaves an intriguing space for more to be revealed later.
3. Interject with narrative reflection
If the time has come to reveal more, you could use the space between the dialogue to offer a little more insight.
Take care to restrain it. Give the reader just enough, then pull them back to the present action. Here’s how that might look.
Take care to restrain it. Give the reader just enough, then pull them back to the present action. Here’s how that might look.
‘You’re late,’ Marcus said, tapping his watch. ‘I was expecting you five minutes ago.’
‘I came the long way,’ Baz said. ‘Avoided the alley. After, you know, last time, I couldn’t bear—’
‘Yeah yeah. Look, you need to find a way past that, mate. I get it, but all that’s doing is turning one risk into another.’
Easy for Marcus to say. He hadn’t been left for dead, beaten to a pulp, the seventy-three stiches transforming his scalp into something Picasso would have been proud of. Seven months he’d been laid up for. Seven—
‘Hey, earth to Bazza. C’mon. Let’s get a pint. I’ve got a plan.’
Marcus took him by the elbow and steered him through the crowd. It began to rain. An umbrella snapped open above his head.
4. Use other characters to reveal backstory
You could decide to hint at a character’s backstory through how others see them. Again, readers should be given only what they need to know, and the reveal should be relevant to the scene.
Fi touched the screen. ‘So this is our route out. I don’t like it. See here? This alley is tight. No lights. Baz might be on his own, and we both know Baz doesn’t do confined spaces … at least he hasn’t done for the past eighteen months.’
‘That’s our route out,’ Marcus said. ‘You and me. Baz is leaving through the front door, in plain sight. I’ve got it all worked out.’
Notice how we’re given a nudge about something in Baz’s past that means alternative arrangements have to be made. These add a little complexity to the plan Fi and Marcus are working on, but there’s space to explore in more detail at a later point.
If it’s time to introduce that extra detail, an alternative could see Marcus reflecting internally on a plan he’s put together. Here, the backstory is more detailed but it’s still relevant to the present issue that he’s focusing on – planning an escape.
The obvious route out was the alley. Through the kitchen, into the yard, over the wall, and they’d be gone. Two minutes tops. In theory it was good. In practice it was risky. Not for him and Fi. They were sound. But Baz would need to keep his head in the game. And for the past eighteen months, it hadn’t been. His friend had been ambushed, beaten to a pulp, the seventy-three stiches transforming his scalp into something Picasso would have been proud of. Since then, even the suggestion of a tight, unlit space had him going off on one.
Back to the drawing board.
5. Use sounds, objects or settings as triggers
The external environment can be effective tools with which to introduce backstory. Your protagonist might see, hear or touch something that triggers a memory or an emotion.
Here are two examples. Once more, they’re mere nudges that make the reader ask questions, rather than lengthy explanations that risk flattening the prose.
Here are two examples. Once more, they’re mere nudges that make the reader ask questions, rather than lengthy explanations that risk flattening the prose.
There was a door to his left. Baz opened it. A narrow flight of wooden steps led downwards. He flicked the switch by the latch. A light flashed on, then fizzled and died. He stepped back and shut the door. Shuddered. Too dark, too tight. Not happening.
Anyway, Marcus was due in ten minutes. He could investigate.
Fi ran her hand over the cracked porcelain sink. Same kind they’d had in the safehouse in Rotterdam. Good times. Her, Marcus and Baz. All in it together. All of them with their heads in the game. All of them thinking they were invincible.
‘Fi, join me.’ It was Marcus, his muffled voice coming from somewhere beneath her.
‘He’s down there,’ Baz said, pointing over his shoulder at a roughly hewn slatted door, slightly ajar. ‘Some sort of cellar, I think.’
Summing up
Backstory is as a tool that gives your crime fiction and its characters emotional depth at any point it’s introduced. If it doesn’t affect how the reader engages with the story in the moment, remove it.
Keep it taut so that the reader remains engrossed in the novel’s present – what the characters are doing/feeling now. Nudges and hints at first mention are often far more suspenseful and intriguing.
If backstory is dragging on for multiple paragraphs or even chapters – a within-novel biography – rethink its structure and how you might break it up so that you reveal it gradually.
Keep it taut so that the reader remains engrossed in the novel’s present – what the characters are doing/feeling now. Nudges and hints at first mention are often far more suspenseful and intriguing.
If backstory is dragging on for multiple paragraphs or even chapters – a within-novel biography – rethink its structure and how you might break it up so that you reveal it gradually.
Other resources you might like
- Start Crime Fiction Editing: multimedia course
- Editing Fiction at Sentence Level: book
- Fiction editing line craft: books
- How to Line Edit for Suspense: multimedia course
- How to Write the Perfect Editorial Report: multimedia course
- Narrative Distance: multimedia course
- Resource library
- Switching to Fiction: multimedia course
About Louise
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with crime, mystery, suspense and thriller writers.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP) and co-hosts The Editing Podcast.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP) and co-hosts The Editing Podcast.
- Get in touch: Louise Harnby | Crime Fiction & Thriller Editor
- Connect: X @LouiseHarnby, Facebook and LinkedIn
- Learn: Books and courses
- Discover: Resources for authors and editors
Learn about editorial business-owner websites, and when you should start building them.
Listen to episode 141
Find out more about the following:
- Why having a website is important
- Common misconceptions about timing
- Signs you're ready to build your editorial website
- What if you're just starting out?
- Website timing in the context of career stages
- Don’t wait for ‘perfect’
- Quick-action steps
Free bonus episode!
Below is a sneak peek behind the curtain of our Patreon ‘Second Cup’ tier, where members get exclusive access to bonus episodes of The Editing Podcast.
Patreon is the only place you will ever hear these bonus episodes, but we are making this one – and only this one - free to everyone, so you can hear what you’ll get if you join this tier.
Patreon is the only place you will ever hear these bonus episodes, but we are making this one – and only this one - free to everyone, so you can hear what you’ll get if you join this tier.
Related resources
- Branding for Business Growth (multimedia course)
- Editor Website Essentials (multimedia course)
- Marketing Toolbox for Editors (multimedia course)
- Resource library for editors, proofreaders and writers
Support The Editing Podcast
- Tip your hosts: Support Louise and Denise with a one-off tip of your choosing.
- Join our Patreon community: Our patrons benefit from access to PDF transcripts for episodes featuring just Louise and Denise, and for some of our guest episodes. ‘Second Cup’ members get exclusive access to bonus episodes.
Music credit
'Vivacity’ by Kevin MacLeod
- Link: https://filmmusic.io/song/4593-vivacity
- Licence: http://creativecommons.org/licenses/by/4.0/
About Louise
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with crime, mystery, suspense and thriller writers.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP) and co-hosts The Editing Podcast.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP) and co-hosts The Editing Podcast.
- Get in touch: Louise Harnby | Fiction Editor & Proofreader
- Connect: X @LouiseHarnby, Facebook and LinkedIn
- Learn: Books and courses
- Discover: Resources for authors and editors
Learn how to make your academic editing business more visible.
Summary of episode 140
Listen to find out more about
- content marketing
- showing rather than telling your skills
- using subject-based keywords
- ideas for titles for you to steal.
Support The Editing Podcast
- Tip your hosts: Support Louise and Denise with a one-off tip of your choosing.
- Join our Patreon community: Our patrons benefit from access to PDF transcripts for episodes featuring just Louise and Denise, and for some of our guest episodes. Members of our Second Cup tier get extra free bonus content too!
Music credit
'Vivacity’ by Kevin MacLeod
- Link: https://filmmusic.io/song/4593-vivacity
- Licence: http://creativecommons.org/licenses/by/4.0/
About Louise
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with crime, mystery, suspense and thriller writers.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP) and co-hosts The Editing Podcast.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP) and co-hosts The Editing Podcast.
- Get in touch: Louise Harnby | Fiction Editor & Proofreader
- Connect: X @LouiseHarnby, Facebook and LinkedIn
- Learn: Books and courses
- Discover: Resources for authors and editors
Learn how to assess a non-fiction editing project with special guest Hester Higton.
Summary of episode 139
Listen to find out more about:
- Time required for different aspects of a project
- The different parts of a project
- The different types of editing
- Counting and assigning time
- The order of editing work
- Recording project time
About Hester
Find out more about Hester:
- Website: academicedit.co.uk
- Email: [email protected]
Support The Editing Podcast
- Tip your hosts: Support Louise and Denise with a one-off tip of your choosing.
- Join our Patreon community: Our patrons benefit from access to PDF transcripts for episodes featuring just Louise and Denise, and for some of our guest episodes.
Music credit
'Vivacity’ by Kevin MacLeod
- Link: https://filmmusic.io/song/4593-vivacity
- Licence: http://creativecommons.org/licenses/by/4.0/
About Louise
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with crime, mystery, suspense and thriller writers.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP) and co-hosts The Editing Podcast.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP) and co-hosts The Editing Podcast.
- Get in touch: Louise Harnby | Fiction Editor & Proofreader
- Connect: X @LouiseHarnby, Facebook and LinkedIn
- Learn: Books and courses
- Discover: Resources for authors and editors
Learn about how to be an efficient editor, with special guest Hester Higton
Summary of Episode 138
Listen to find out more about
- The goals of efficient editing
- Preparing for efficient improvements
- The order for tackling a project
- Batch editing
- Technology for efficient editing
- Multi-author projects
- Resources
Resources mentioned in the show
About Hester
Find out more about Hester:
- Website: academicedit.co.uk
- Email: [email protected]
Support The Editing Podcast
- Tip your hosts: Support Louise and Denise with a one-off tip of your choosing.
- Join our Patreon community: Our patrons benefit from access to PDF transcripts for episodes featuring just Louise and Denise, and for some of our guest episodes.
Music credit
'Vivacity’ by Kevin MacLeod
- Link: https://filmmusic.io/song/4593-vivacity
- Licence: http://creativecommons.org/licenses/by/4.0/
About Louise
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with crime, mystery, suspense and thriller writers.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.
- Get in touch: Louise Harnby | Fiction Editor & Proofreader
- Connect: X @LouiseHarnby, Facebook and LinkedIn
- Learn: Books and courses
- Discover: Resources for authors and editors
Learn about becoming a professional academic editor with special guest Hester Higton.
Summary of Episode 137
Listen to find out more about:
- The journey from academia to editing
- How editors support academics
- Specific skills needed
- Acquiring training
- Different types and sources of clients
- Academic voice
- Ethical issues and AI
About Hester
Find out more about Hester:
- Website: academicedit.co.uk
- Email: [email protected]
Support The Editing Podcast
- Tip your hosts: Support Louise and Denise with a one-off tip of your choosing.
- Join our Patreon community: Our patrons benefit from access to PDF transcripts for episodes featuring just Louise and Denise, and for some of our guest episodes.
Music credit
'Vivacity’ by Kevin MacLeod
- Link: https://filmmusic.io/song/4593-vivacity
- Licence: http://creativecommons.org/licenses/by/4.0/
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with crime, mystery, suspense and thriller writers.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.
- Get in touch: Louise Harnby | Fiction Editor & Proofreader
- Connect: X @LouiseHarnby, Facebook and LinkedIn
- Learn: Books and courses
- Discover: Resources for authors and editors
Learn how to hone your presentation skills at online and in-person conferences, professional awaydays and webinars.
Summary of Episode 136
Listen to find out more about
- Starting with a strong title
- Mapping out the structure
- Clarifying learning outcomes
- Numbering session sections
- Keeping slides decluttered
- Offering a transcript
- Making decisions about scripting
- Handling questions
- Practising out loud
- Crafting an introduction
Related resources
- Branding for Business Growth (multimedia course)
- Editor Website Essentials (multimedia course)
- Marketing Toolbox for Editors (multimedia course)
- Resource library for editors, proofreaders and writers
Support The Editing Podcast
- Tip your hosts: Support Louise and Denise with a one-off tip of your choosing.
- Join our Patreon community: Our patrons benefit from access to PDF transcripts for episodes featuring just Louise and Denise, and for some of our guest episodes.
Music credit
'Vivacity’ by Kevin MacLeod
- Link: https://filmmusic.io/song/4593-vivacity
- Licence: http://creativecommons.org/licenses/by/4.0/
About Louise
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with crime, mystery, suspense and thriller writers.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP) and co-hosts The Editing Podcast.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP) and co-hosts The Editing Podcast.
- Get in touch: Louise Harnby | Fiction Editor & Proofreader
- Connect: X @LouiseHarnby, Facebook and LinkedIn
- Learn: Books and courses
- Discover: Resources for authors and editors
Learn about why including testimonials in your online spaces is likely to do lovely things for your editing and proofreading business.
Summary of Episode 135
- How to ask for testimonials
- Making it easy for clients
- Effective testimonials
- Where to put testimonials
- Visibility
- Different approaches to showcasing feedback
- Embedding testimonial-gathering into business practice
Related resources
- Branding for Business Growth (multimedia course)
- Editor Website Essentials (multimedia course)
- Marketing Toolbox for Editors (multimedia course)
- Resource library for editors, proofreaders and writers
Support The Editing Podcast
- Tip your hosts: Support Louise and Denise with a one-off tip of your choosing.
- Join our Patreon community: Our patrons benefit from access to PDF transcripts for episodes featuring just Louise and Denise, and for some of our guest episodes.
Music credit
'Vivacity’ by Kevin MacLeod
- Link: https://filmmusic.io/song/4593-vivacity
- Licence: http://creativecommons.org/licenses/by/4.0/
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with crime, mystery, suspense and thriller writers.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.
- Get in touch: Louise Harnby | Fiction Editor & Proofreader
- Connect: X @LouiseHarnby, Facebook and LinkedIn
- Learn: Books and courses
- Discover: Resources for authors and editors
Learn how to create engaging titles for conference sessions, blog and podcast headings and email marketing subject lines.
Summary of Episode 134
Listen to find out more about:
- Being specific
- Using numbers
- Being short and snappy
- Choosing verbs wisely
- Piquing curiosity
- Targeting your audience
Related resources
- Branding for Business Growth (multimedia course)
- Editor Website Essentials (multimedia course)
- Marketing Toolbox for Editors (multimedia course)
- Resource library for editors, proofreaders and writers
Support The Editing Podcast
- Tip your hosts: Support Louise and Denise with a one-off tip of your choosing.
- Join our Patreon community: Our patrons benefit from access to PDF transcripts for episodes featuring just Louise and Denise, and for some of our guest episodes.
Music credit
'Vivacity’ by Kevin MacLeod
- Link: https://filmmusic.io/song/4593-vivacity
- Licence: http://creativecommons.org/licenses/by/4.0/
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with crime, mystery, suspense and thriller writers.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.
- Get in touch: Louise Harnby | Fiction Editor & Proofreader
- Connect: X @LouiseHarnby, Facebook and LinkedIn
- Learn: Books and courses
- Discover: Resources for authors and editors
Russell Harper of The Chicago Manual of Style (CMOS) talks about the changes to the 18th edition.
Summary of Episode 133
- The international appeal of CMOS
- Balancing editorial logic and real-world usage
- Revision decision-making process
- Reversing stylistic decisions in CMOS
- Capitalization of identity markers and CMOS
- Singlular 'they' and CMOS
- Fiction and creative genres in CMOS guidance
- Citations and CMOS
- Keeping up to date with changes in the publishing world
Support The Editing Podcast
- Tip your hosts: Support Louise and Denise with a one-off tip of your choosing.
- Join our Patreon community: Our patrons benefit from access to PDF transcripts for episodes featuring just Louise and Denise, and for some of our guest episodes.
Music credit
'Vivacity’ by Kevin MacLeod
- Link: https://filmmusic.io/song/4593-vivacity
- Licence: http://creativecommons.org/licenses/by/4.0/
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with crime, mystery, suspense and thriller writers.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.
- Get in touch: Louise Harnby | Fiction Editor & Proofreader
- Connect: X @LouiseHarnby, Facebook and LinkedIn
- Learn: Books and courses
- Discover: Resources for authors and editors
Discover how to use a marketing buddy to conquer overwhelm and get your editing and proofreading business promotion moving.
Summary of Episode 132
Listen to find out more about:
- Sharing the problem of marketing inertia
- Why feeling nervous about marketing with someone else can be empowering
- Finding a marketing buddy: Forums, groups and professional development events
- Making space for marketing anxiety
- Researching your preferred promotion methods
- Planning business promotion
- Ideas for you to work on together: Content, events and presentations
Related resources
- Branding for Business Growth (multimedia course)
- Editor Website Essentials (multimedia course)
- Marketing Toolbox for Editors (multimedia course)
- Resource library for editors, proofreaders and writers
Support The Editing Podcast
- Tip your hosts: Support Louise and Denise with a one-off tip of your choosing.
- Join our Patreon community: Our patrons benefit from access to PDF transcripts for episodes featuring just Louise and Denise, and for some of our guest episodes.
Music credit
'Vivacity’ by Kevin MacLeod
- Link: https://filmmusic.io/song/4593-vivacity
- Licence: http://creativecommons.org/licenses/by/4.0/
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with crime, mystery, suspense and thriller writers.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.
- Get in touch: Louise Harnby | Fiction Editor & Proofreader
- Connect: X @LouiseHarnby, Facebook and LinkedIn
- Learn: Books and courses
- Discover: Resources for authors and editors
How human editors and proofreaders can remain relevant when AI capability is improving exponentially.
Summary of Episode 131
Listen to find out more about:
- Emotional intelligence and sensitivity
- The ability to be subjective
- Focusing on the writer as well as the writing
- Service opportunities
- Being present in person
- Unique personal and business identities
Related resources
- Branding for Business Growth (multimedia course)
- Editor Website Essentials (multimedia course)
- Marketing Toolbox for Editors (multimedia course)
- Resource library for editors, proofreaders and writers
Support The Editing Podcast
- Tip your hosts: Support Louise and Denise with a one-off tip of your choosing.
- Join our Patreon community: Our patrons benefit from access to PDF transcripts for episodes featuring just Louise and Denise, and for some of our guest episodes.
Music credit
'Vivacity’ by Kevin MacLeod
- Link: https://filmmusic.io/song/4593-vivacity
- Licence: http://creativecommons.org/licenses/by/4.0/
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with crime, mystery, suspense and thriller writers.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.
- Get in touch: Louise Harnby | Fiction Editor & Proofreader
- Connect: X @LouiseHarnby, Facebook and LinkedIn
- Learn: Books and courses
- Discover: Resources for authors and editors
Learn about what to check when proofreading page proofs prior to publication.
Summary of Episode 130
Listen to find out more about:
- What designed page proofs are
- What to check in the prelims
- What to check in the main text
- What to check in the end matter
- Which sections to check first
Related resources
Support The Editing Podcast
- Tip your hosts: Support Louise and Denise with a one-off tip of your choosing.
- Join our Patreon community: Our patrons benefit from access to PDF transcripts for episodes featuring just Louise and Denise, and for some of our guest episodes.
Music credit
'Vivacity’ by Kevin MacLeod
- Link: https://filmmusic.io/song/4593-vivacity
- Licence: http://creativecommons.org/licenses/by/4.0/
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with crime, mystery, suspense and thriller writers.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.
- Get in touch: Louise Harnby | Fiction Editor & Proofreader
- Connect: X @LouiseHarnby, Facebook and LinkedIn
- Learn: Books and courses
- Discover: Resources for authors and editors
Find out about 5 core character roles within a novel, and how the purpose they serve ensures the story stays focused.
Summary of Episode 129
Listen to find out more about:
- 5 key character roles in fiction
- The character role hierarchy
- Why protagonists aren't always heroes
- Why antagonists aren't always villains
- Why even minor characters should have a function
- How understanding the hierarchy helps authors and editors give appropriate head-space to the appropriate characters
Related resources
Support The Editing Podcast
- Tip your hosts: Support Louise and Denise with a one-off tip of your choosing.
- Join our Patreon community: Our patrons benefit from access to PDF transcripts for episodes featuring just Louise and Denise, and for some of our guest episodes.
Music credit
'Vivacity’ by Kevin MacLeod
- Link: https://filmmusic.io/song/4593-vivacity
- Licence: http://creativecommons.org/licenses/by/4.0/
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with crime, mystery, suspense and thriller writers.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.
- Get in touch: Louise Harnby | Fiction Editor & Proofreader
- Connect: X @LouiseHarnby, Facebook and LinkedIn
- Learn: Books and courses
- Discover: Resources for authors and editors
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