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a writing competition i was going to participate in again this year has announced that they now allow AI generated content to be submitted

their reasoning being that "we couldn't ban it even if we wanted to, every writer already uses it anyway"

"Every writer"?

come on

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Free Manuscript Assessment

Hey all! I'm looking to get some practice doing manuscript assessments, so if you've got a manuscript you'd like to get evaluated and might not be able to afford this service otherwise, I'd like to throw my hat in the ring! All I ask for in return is an honest testimonial.

I'll even work with unfinished manuscripts if you're willing to discuss your intent for the resolution.

What is a manuscript evaluation? It's also called a manuscript assessment, critique, editorial evaluation, editorial letter, appraisal, etc. A manuscript evaluation is a big picture look at your manuscript's overall strengths and weaknesses, and will provide suggestions for how to go about your next edit. Every manuscript is different, but some common topics brought up in an evaluation are character development, plot, structure, tone, genre conventions, setup/payoff, reader experience, voice, pacing, and more. Unlike a full developmental edit, you only receive a letter instead of both a letter and notes within the manuscript.

For those who might be nervous about getting an evaluation done, an editor is your ally! I want to see your story be the best it can be. And any suggestions for edits are only suggestions. You, as the author, have all the power to accept and reject anything in my letter. I maintain a professional tone and I never make it personal. And I never run ANYTHING through AI!

About me:

I'm a queer creator and an aspiring developmental editor.

I've been practicing Editing Lite by beta reading for the past two years while studying developmental editing through the EFA and Club Ed.

I write on the side and have published short fiction and I have two upcoming comics.

I've taken courses on developmental editing, manuscript evaluations, genre-specific editing, editing for goal-motivation-conflict problems, and more.

If interested, please submit here. Thank you!

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Hey writers!

As of January 16, 2025, Microsoft has decided to automatically enable their AI service, CoPilot, on Word - even if you've previously turned off the service. They've also changed the process to disable it.

If you want to disable it again, go to:

Options -> CoPilot -> Uncheck "Enable CoPilot"

Hope this helps!

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The 'white room' setting is something I come across often when I'm reading manuscripts. When a setting is a 'white room', that means the description of the setting doesn't paint a picture and the characters might as well be floating in a blank white space throughout the scene. The easiest way to really punch up your writing and ground the reader in time and space is to add concrete sensory descriptions. Bonus points if those details are filtered through the POV character, which I briefly illustrated in my 'Another Post about Showing and Telling' post.

Nothing immerses me in a story more effectively than a well-placed, well-worded description of smell or texture.

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Another Post About Showing and Telling

I feel like it’s a rite of passage for a writing blog to talk about show, don’t tell, so I’ll take a crack at it. 

First of all, to get it out of the way, show, don’t tell is good advice for specific situations, but it’s been taken to mean always show, never tell and that’s not helpful. If you really want to paint with broad brushstrokes, then the better advice would be: Show more than tell. Showing and telling should both be tools in your writer’s toolbox. 

But why should we show more than tell? Because showing is the key to the reader's emotional experience with your story. There are many posts and books out there that go over how to turn your telling into showing (like using active verbs instead of passive, for example, or using concrete, specific details in your descriptions), but I think it’s important to fully digest why we’re making those changes and why the reasoning will push us to become better writers. 

It all comes down to emotion. Writing For Emotional Impact by Karl Iglesias encourages writers to start thinking to themselves: “I’m in the emotion-delivery business, and my job is to evoke emotions in a reader.” Dialogue, theme, setting, pacing, character development, word choice, structure, POV, showing and telling. These are all tools a writer uses in varying proportions to best manipulate a reader’s emotions. The good news is that when a reader picks up a book, they’re willing to be manipulated. In fact, they hope to be. The tough news is that you have to deliver on a sentence by sentence, paragraph by paragraph, scene by scene, and chapter by chapter basis. But that’s okay, because you’re a writer, dammit, and this struggle is where the art of the craft is. 

Showing is where the emotional complexities of our characters, theme, and plot can be revealed gradually without giving too much away too early and robbing engagement from the reader. Showing is what makes the resolution and the journey satisfying. So you can see how much weight it carries and why we want more of that than telling. We’re trying to evoke emotion from the reader, not talk at them like we’re recounting a dream we had last night (yawn). And it’s easier to evoke emotion if we keep them curious. Engaged.

Part of revealing the story gradually through showing is planting evidence for a conclusion that you leave the reader to make themselves, or a conclusion that you will reveal later. Donald Maas in The Emotional Craft of Fiction writes, “The ingredient behind effective showing can be summed up in this word: subtext. When there’s a feeling we’re not being told, but it is evident anyway, that underlying feeling is the subtext. It’s the unspoken emotional truth.” And then a fandom is born and continues to thrive for decades after the show ended! Really, though. Subtext is an ingredient in showing, which fosters engagement, which makes the reader feel something. Sometimes passionately. Every story I love and keep coming back to in one form or another has that special place in my heart because of how it made me feel.

I’ll try to give a simple example here to illustrate subtext and reader engagement at work. Using setting and a couple action beats as an opportunity for subtext, let’s say a character and her sister arrive at their grandmother’s house. Character A remains standing in the corner when invited in, hugging herself, frowning at the green knitted blanket hanging over the couch that looks like the color of nausea. Character B walks easily into the living room, running her hand over the green blanket that reminds her of nature and wellness. In Character B's perspective, she admires her grandmother's craftiness. But it's only in Character's A perspective that we notice the store tag on the blanket. Who do we think has the better relationship with their grandmother, given the evidence? Which one seems more naïve or eager to see her grandmother in a certain light? What assumptions can we make about the grandmother? Might she be putting on a performance of being grandmotherly? The mental work the reader does here would be completely thwarted if the scene had started with “Hannah didn’t like her grandmother because she valued material wealth and appearances over forming a genuine connection with her family.” We can show that instead over time by filtering the world through the perspectives of our characters, and even making it pack an emotional punch if we’re strategic about it.

But I had mentioned that contrary to what show, don’t tell asks us to do, telling isn’t something we should throw away. It can be a tool in its own right. 

Telling is explaining, and explaining keeps people distant from what’s happening in the story. How many times has an “I love you” felt kinda meh in a story because that character hasn’t earned that confession by showing their love through their actions or making some sort of sacrifice? How many times have your eyes glazed over while reading the fourth paragraph of an info dump? How many times, when talking about a book you just read, have you said “well, the first 80 pages were slow…” because it was all backstory? Or maybe a story is entirely forgettable because the telling leaves nothing to the imagination. Donald Maas writes, “Put on a page what a character feels and there’s a pretty good chance that, paradoxically, what the reader feels is nothing.”

However, telling has one thing on showing: efficiency. If a book only showed, then it could go on forever and ever. So a writer has to learn how to weave both showing and telling into the story to control the pacing and delivery of information. If you want subtext or you want something to be vague on purpose, then you’ll probably want to show. If you want to deliver information quickly and with clarity, then you might want to try telling. Does it need to make logical sense to understand the upcoming scene? Maybe tell. Is this transition unimportant to the story and you don’t want to linger? Try telling and see how it works! Ask your beta readers how it worked for them. Of course, if you’re writing in the literary genre, you might be doing a whole lot of telling because what propels the reader to the next page and the next chapter is the form, the prose, and the sheer depth of the exploration of flawed characters. 

It’s all about balance. And practice. Next time you read a book and you find yourself moved, try to figure out how the author just evoked that feeling from you. Was it stated plainly, or was it shown through action? Was it stated plainly after a whole book’s worth of setup through subtext? Was it unexpected? What was the balance of showing and telling that led to it? Or, if you find your focus trailing off, try to figure out why. Then, when you’re editing your own work, you’ll have the tools you need to identify the weak points and make revisions. And it’s okay (even expected) if the perfect balance of showing and telling doesn’t occur in the first draft. The Artful Edit by Susan Bell (highly recommended) talks a lot about the revisions that went into The Great Gatsby. You'll find that his writing struggles are comfortingly familiar. Luckily, he certainly had a wonderful editor :)

For further reading/watching: 

[VIDEO] ShaelinWrites—Show, Don’t Tell | what it means and how to use it

[BOOK] Showing and Telling in Fiction by Marcy Kennedy [BOOK] A Writer’s Guide to Active Setting by Mary Buckham

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the secret to writing good smut that doesn't feel like you're just repeating the same words for junk and fucking over and over is to spend your effort writing about everything happening around the sex and everything happening inside the heads of the people having sex and before you know it you have four paragraphs of introspection and two paragraphs describing the space and it's okay to use the word cock again

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Leila Chatti, “Tea”