Self-Editing School: How to Self-Edit Your Novel to Improve Readability with JoEllen Nordstrom

Self-editing for fiction gets a practical makeover: writers are urged to evaluate their manuscripts at the story-structure level first—plot, characters, and settings—using a defined checklist of 38 story elements, then move on to line and copy editing. The payoff is readability that feels effortless to readers, because the work focuses on whether scenes deliver clear purpose, consistent point of view, and satisfying tension-and-resolution rather than on grammar fixes too early.

The session frames self-editing as a process of tightening the “story arc” before polishing sentences. Writers are told to start by naming every scene (often chapter-sized units) whenever the situation changes, because scene names make it easier to cross-reference later and to detect when a scene doesn’t support the overall plot. Once scenes are laid out, the manuscript is assessed for connectivity: do the events drive the story forward, or do “favorite” scenes weaken momentum? This is paired with a method for checking scene openings and closings—whether they begin with dialogue, thought, description, or action—and whether the pattern becomes repetitive enough to make the reading experience dull or exhausting.

Readability also hinges on “anchoring” the reader quickly. Each scene should establish point of view, setting, time, and location within the first page (ideally the first sentence), so readers don’t have to flip back to figure out who is speaking or where the action is happening. The same attention is applied to entry and exit hooks: openings should grab attention immediately, and endings should create desire to continue—using cliffhangers or other forms of forward pull—so readers feel guided rather than confused.

Characters are treated as structural components, not just personalities. Writers are encouraged to review who appears in each scene, why they’re there, and whether their screen time (including dialogue, action, and interactions) matches their value to the plot. The protagonist should occupy the most space and drive the most interactions, while minor characters may need to be reduced, moved, or reassigned if their contribution doesn’t justify their presence. Point of view must also stay consistent and effective, with each character’s goals, fears, and desires clearly shaping what happens next.

Settings are evaluated for more than atmosphere: location and time should matter to the scene’s meaning, objects should be used with purpose (including foreshadowing), and all five senses—sight, sound, smell, taste, and touch—should be deployed to deepen immersion and tension. Weather and emotional impact are highlighted as levers that can intensify conflict and help readers empathize with characters’ anxieties and expectations.

Finally, the session draws a sharp line between editing levels. Story/developmental editing comes first, focusing on whether the structure makes sense and whether ideas and propositions hold together. Line editing follows, targeting flow, transitions, voice, and sentence-level readability. Copy editing is the rigid grammar, spelling, and punctuation pass, and proofreading happens after formatting. Professional editors are recommended as the “fresh, neutral feedback” step, but the central message is that self-editing improves the quality of that collaboration—especially when writers can point to specific story-structure problems using the same shared framework.