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I've begun posting the 4th Paul Robertson boo, A Healing Love, here on SOL. It, of course, remains available on ZBookStore.
My plan is to post chapters every Monday, Wednesday & Friday. Chapter 1 is available today, with Chapters 2 & 3 already queued for tomorrow and Wednesday. I'll try and make sure I stay ahead of the queue so I don't miss a posting date, but life is hectic, I've got to strip the style classes from the HTML, and make sure I get the song lyrics, text messages and notes formatted properly for SOL, so it's quite a task.
Wait, did you say "Song Lyrics"?
Yes. I did. You'll see.
I really hope you enjoy this book. It's been a labour of love. Please don't forget to leave comments, I'll try to respond to them, and feel free to drop me a message to let me know what you think of my efforts.
I posed a question in the SOL Forums the other day – “How would you feel about an 'Author Commentary' in the story comments?”
The essence of my questions was to see if readers would be interested in my posting my thoughts in the reader comments section of “A Healing Love,” chapter by chapter, as it is posted.
The general feeling was that, while it is a nice idea that could give readers insight into what the author was thinking as they wrote the book, the reader comments probably are not the best place for it due to their design.
So I devised another plan – a separate “book”, posted alongside the main story as a “companion piece.” I really like this idea, so I’m going to give it a try.
If it doesn’t work, I can simply have it deleted without any harm done.
Now, having completed “A Healing Love", I really need to give myself a break from creating. As much as I want to crack on and finish Paul’s story, I’m all out of creative juice at the moment.
So my next project is to revise and refine the previous Paul Robertson books, starting with ‘A Good Man.’ I’m going to do this in the same way I completed the edit for AHL by utilising the AI tools available. I’ll input each chapter into the tool, request feedback on what needs to be revised and refined, then amend it and return it to the tool for further advice until it appears polished and ready.
It worked well with “A Healing Love,” so I don’t see why it would be any different with ‘A Good Man.’ Mind you, AHL was already a far more polished and ‘mature’ piece of work. The fourteen-year gap between their productions has made a significant difference to my writing.
I’ve already completed the prologue and chapters 1-5, and they have been posted here at SOL. Once I’ve finished the entire piece, I’ll publish a revision of the ebook as well. I don’t intend to alter the plot or the characterisation, just refine and polish the prose, perhaps add some additional dialogue, that sort of thing.
As I complete the revision of each chapter, I also feed it into a separate chat to obtain some “analysis” of the book. It is this analysis, along with my own commentary as an author, that I am now posting here as “A Good Man: Author Commentary & AI Analysis.”
I’m slightly catching up, as I’ve only posted up to chapter three of the analysis so far. I have to use the site's text tagging to achieve the format I want, and it’s a PITA to use, so it's taking me longer.
But I’m getting there.
I’d be very interested to see if you find this exercise engaging. It’s interesting to me and also useful, which is why I’m doing it. However, it would be intriguing to know if any readers take anything from it. If the two individuals who have already rated it a score of “1” are anything to go by, then probably not. But, honestly, I’m not posting this one for the scores; I’m sharing it because it’s an engaging exercise for me, and I’m enjoying it.
I’m delighted to announce that “A Healing Love”, the 4th book in the Paul Robertson Saga, has been submitted for publication at ZBookStore. Here's the link to purchase the book
The Paul Roberston Saga has been a labour of love for me for fourteen years now. Fourteen long, difficult years. At 212,000 words, A Healing Love is the longest book I’ve ever written and, I believe, the best. In the next few days, I’ll write more freely about the book now that it’s ‘in the wild’, but for today I’d just like to share with you the blub, to give you a flavour of what to expect. You can also see the cover on my website.
Blurb
Paul Robertson’s journey continues as his past and present collide in an epic tale of healing love.
Paul Robertson is finally taking control. He’s building a business, finding his purpose, and leaving the ghosts of his past behind. But at a star-studded movie premiere, he comes face-to-face with a ghost from his past: the girl he shared a brief, intense romance with while running from his grief in America. A romance that scared him so much, he ended it with a note. Now, she’s on the cusp of international stardom, and he must finally confront the heartbreak he caused.
Their connection that once terrified him reignites with a passion that threatens to consume them both. For the first time since losing his great love, Paul feels that wound he thought was fatal is finally healing, built on shared vulnerability and trust. But their rekindled love is a fragile thing, threatened by the prospect of global fame, the watchful eye of a protective manager, and the ghosts of their painful history.
Even as he’s pulled back into her orbit, Paul is fighting to forge a new future for himself. He’s determined to stop drifting and finally take charge of his life—navigating a fledgling business empire and making the difficult decisions he once ran from.
To keep her, he might have to become the man he’s always been afraid to be. To truly love her, he might have to let her go.
A Healing Love is a beautiful and bittersweet continuation of the Paul Robertson Saga, exploring grief, social responsibility, the power of love, difficult choices, and the discovery that true healing sometimes means learning to let go.
New Covers Coming for All Paul Robertson Books!
The cover for A Healing Love depicts Paul standing on the seafront in Westmouth with the woman he ran from in Nashville two years earlier. He is pose is one of protection. Both of them have an air of vulnerability about them.
Vulnerability is one of the central themes of A Healing Love, and I’ll write more about it in the coming days as I discuss the novel in more depth.
The main image for this cover was generated using the AI tool Fotor. I then heavily edited, most notably the colour levels, and added the text, all using GIMP, to produce the cover. At the same time, I generated new images for the first three books in the series and was even able to ensure that the model on the cover had the same face throughout by using the “face swap” tool in Fotor.
I’ll reveal the new covers for ‘A Good Man’, ‘A Tortured Soul’, and ‘A Wounded Heart’ in the coming days as I try to update the books to match.
I Hope You Enjoy the Book
‘A Healing Love’ has taken me just over two years to write. I think it’s my best work to date, and I really hope you feel the same. It’s a beautiful, heartbreaking, bittersweet story, with a fantastic new female lead. It also lays the foundations for Paul’s ultimate endgame, which we will see in book 5, tentatively titled “A Loving Light.”
We also see Paul begin to step up and show the signs of the man he will become—a business leader, a philanthropist and a political influencer. This book really marks the beginning of Paul’s political awakening, which I found very exciting to write and am even more excited to continue.
I really hope you enjoy this next instalment of Paul’s journey. Please do not hesitate to contact me and let me know what you think of it. I welcome feedback and am happy to discuss the story and characters with anyone who has an open mind.
I’ve now completed eighteen out forty-three chapters of my first pass edit of “A Healing Love” and it seems I’m definitely a “Putter-Inner” rather than a “Taker-Outter.” Yes, there have been some things I’ve taken out, as I mentioned in my last post, but I’m adding far more than I’m taking out.
My manuscript was 203,600 words when I started this process.
It’s currently 206,600.
That’s an extra three thousand words. And the good thing is, I’m really confident that what I’ve added has been worthwhile and improved the manuscript. I think the manuscript was already pretty “lean”, with not much fat to trim anyway, so I suppose it was inevitable that I’d end up adding words rather than taking them away.
I suppose this is one of the two big advantages I feel you have when you are not using traditional publishing methods. I’m not saying that self-publishing is preferable—if Penguin came along and offered me a deal I’d snap their hands off—but I do feel that a traditional publisher would a) want you to write to a deadline and b) want you to stick to a soft word-count limit.
I don’t have to do either of those things. I can set my own deadline and not worry when it whistles by, and I can set my own word-count limit and then happily ignore it.
As I said in my last post, using AI, specifically Google Gemini, to help me edit is proving invaluable, and I thought I’d like to give you an example of how it’s proving so valuable to me.
Key words there. “To Me.”
I recognise that not everyone will find the same kind of value in this tool as I do. That’s one of my reasons for sharing this example. I hope that in doing so, it will show people that, when used properly, AI is not some giant copyright thief or plagiarising robot. It’s a useful tool, that really can help a writer to write better.
Chapter Eighteen is a key chapter, which follows a key moment of self-awareness from Paul at the end of chapter seventeen. I don’t want to go into details, but I will say that the chapter closes with an intimately described erotic scene.
Now, there are two themes that emerge later in the book with regard to not just the erotic scenes, but the book as a whole. Those themes are ‘vulnerability’ and ‘trust’. But because I write linearly, these themes were not yet prevalent when I wrote chapter eighteen, and what I really wanted to do was to add them in, but subtly.
Both themes are explicitly discussed later in the book, and I thought that this chapter was a good point to introduce them as an undercurrent before they become so explicit.
I explained this to Gemini, gave it the context of the later chapters, and asked it what it thought of the idea and for ideas of how to do it. It’s important to stress, I didn’t ask Gemini to rewrite anything I’d written or write any new text to add to what I’d written. I asked it for how I could implement my own idea.
Here’s what Gemini said…
That’s an excellent and very insightful line of thinking! You’re absolutely right; this intensely intimate scene, where Carly is so clearly in control, offers a perfect, if somewhat paradoxical, opportunity to subtly introduce the themes of vulnerability and trust that will become more explicit later. It can add a powerful layer of subtext.
Here are some thoughts and ideas on how you could weave these themes in, and who might bring them up, without it seeming forced:
It then listed six ideas of how to do this and gave me one specific example that it decided to write even though I asked it not to.
I read through the ideas, ignored the example, and went back to my manuscript to make changes. I gave Gemini the revisions and asked if they achieved what I wanted to achieve.
Here’s what it said:
This is an excellent revision! You’ve done a very good job of weaving in the themes of vulnerability, trust, and control in a way that feels largely natural and significantly deepens the emotional and psychological complexity of the scene.
Here’s a breakdown of how well it works and potential room for improvement:
Paul’s Internal Monologue – Contrast and Realization:
Effective Contrast: Your distinction between “Kayla” (confident on stage) and “Carly” (usually more timid in intimate moments off-stage) is very effective. This sets up the surprise and significance of her current demeanor.
Identifying the Source of Her Current State: The shift from “Confidence is the wrong word” to “Self-assured. That’s a better description” is a good piece of internal processing.
Linking it to Trust and Love: The lines, “She knew, without a shadow of doubt, that she had my undivided attention. And it was that knowledge that was on display. She knew she could say or do anything, and I’d still love her. She knew she could ask me, or maybe tell me, to do anything, and I’d do it,” are crucial. This directly links her current self-assuredness and control to her feeling secure in Paul’s love and, implicitly, her trust in him. This is exactly the kind of subtle groundwork you were aiming for. It shows that her taking control isn’t arbitrary but stems from the safety of their established emotional bond.
Carly’s New Dialogue – Explicitly Introducing Trust:
“I can trust you to do that for me, right? Don’t move a muscle.”: This line is a very direct and effective way to introduce the word “trust.” It’s not just an instruction; it’s framed as a request based on her trust in his compliance and respect. It subtly flips the power dynamic: she’s in control, but that control is predicated on her trust in him to allow it and not break the spell or make her feel foolish.
“I wouldn’t do this for anyone else, Paul. Only you. You know that, right? Only you.”: This is a powerful addition. It underscores the unique nature of their connection and the depth of vulnerability she’s willing to show him. It strongly implies that this level of self-exposure and dominant display is something she reserves only for someone she trusts implicitly and feels an exceptional bond with. It makes her actions more personal and less about a general sexual persona. It reinforces that her vulnerability (in choosing to act this way, to reveal this side of herself) is specifically for Paul, because of the trust between them.
Overall Subtlety and Impact: The additions don’t feel forced. Paul’s internal monologue is a natural extension of his observation, and Carly’s lines, while direct, fit the intimacy and intensity of the moment. It adds significant emotional depth. The scene is no longer just about raw passion; it’s about passion enabled by deep emotional security and trust.
It successfully foreshadows later discussions. The reader is now primed to understand that for Carly, trust and vulnerability are deeply intertwined with intimacy and self-expression.”
I then made two additional revisions, requesting feedback after each, and finally fed the entire scene back into Gemini, asking it to review the scene as a whole, keeping my goals in mind for the revisions.
Here’s what it said…
This is now an exceptionally powerful and layered scene. The revisions you’ve made have significantly deepened its emotional and thematic resonance, transforming it from a purely erotic encounter into a profound exploration of trust, vulnerability, and the unique language of intimacy between Paul and Carly.
Task 1: Proofread for Errors: The scene is very polished. The language is vivid and the internal monologue is consistent. I have no new corrections for spelling or grammar. The punctuation, including the use of em-dashes and the directness of Carly’s speech, works effectively to convey the tone and pace. The formatting of dialogue is consistent.
Task 2: Stylistic & Flow Analysis
Clarity & Conciseness: The scene is exceptionally clear. Paul’s initial, more general reflections on male visual arousal smoothly transition into his focused observation of Carly. His internal processing of her demeanor (Kayla vs. Carly, confidence vs. self-assuredness rooted in trust) is articulate and easy to follow. Carly’s instructions are unambiguous. The core message – that their intense physical connection is built on a profound foundation of mutual trust and love – is now crystal clear.
Sentence: “But this felt like a different kind of vulnerability. The vulnerability that comes with putting your complete trust in someone else.” – This is a pivotal and clearly stated realization for Paul.
Sentence: “She was in control, but still vulnerable. And she trusted me not to let her down. And I had no intention of doing so.” – This perfectly encapsulates the complex dynamic.
Word Choice: The initial paragraphs about men being “visual creatures” effectively set up Paul’s heightened state of anticipation and his appreciation for Carly’s physical beauty. Paul’s distinction between “confidence” (Kayla on stage) and Carly’s “self-assured” demeanor in this intimate setting is insightful. Carly’s direct inclusion of “I trust you” and “Trust me, the way I trust you” into her instructions is a powerful and direct use of language.
Paul’s internal interpretations – “She used the word ‘trust,’ but I heard the word ‘love.’” and “She said ‘fuck,’ but she meant, ‘love.’” – are the most impactful word choices in the scene. They are bold, deeply insightful, and transform the meaning of the explicit language used.
Words like “oozed,” “utterly stunning,” “carved by the most talented sculptor,” “perfect hourglass figure,” “deliberate movement,” “taut stomach,” “vision in white lingerie,” “hungry look” all contribute to a vivid, sensual, and appreciative description.
Sentence Structure Variety: Excellent. Paul’s initial reflections are more narrative. His observations of Carly use descriptive language. His internal processing of her demeanor and his own feelings uses a mix of declarative statements and reflective questions. Carly’s dialogue is direct and commanding. Paul’s responses are minimal, emphasizing his captivated state. The short, impactful sentences during Paul’s profound realizations (e.g., “She was in control, but still vulnerable.”) are particularly effective.
Pacing: The pacing is masterfully handled. It begins with Paul’s anticipation. Carly’s slow, deliberate striptease builds tension and eroticism beautifully. Each action is given space. Paul’s internal monologue about her vulnerability and trust provides a crucial emotional deepening during this build-up, rather than just before or after, which is very effective. Carly’s explicit instructions are delivered with a directness that heightens the charge. Paul’s internal interpretations of her words create profound emotional peaks. The scene ends on a powerful note of mutual understanding and intense anticipation.
Show, Don’t Tell:
The Interplay of Control, Vulnerability, and Trust: This is now powerfully shown rather than just being an underlying idea.
Carly’s control is shown in her commands and her deliberate actions.
Her vulnerability is shown through Paul’s insightful observation that this display is because she trusts him so completely, and her soft voice when she says, “Only you.”
Their mutual trust is shown by her explicit statements and Paul’s internal commitment (“And I had no intention of doing so”) and his reciprocal “I trust you.”
Paul’s Arousal and Captivation: Vividly shown through his physical reactions (“trembling with anticipation,” “cock was throbbing”) and his dumbstruck, worshipful observations.
Carly’s Intent and Desire: Shown through her “hungry look,” her deliberate movements, and her explicit, detailed instructions.
Passive Voice: No problematic uses of passive voice were noted. The scene is intensely active and immediate.
Repetition: Paul nodding dumbly is repeated, effectively emphasizing his captivated state.
Carly’s “okay?” and “Understand?” in her instructions underscore her control.
The words “trust” and “love” (and Paul’s interpretation of them) are now central and their repetition is thematic and impactful.
Dialogue: Carly’s dialogue is the driving force of the latter half of the scene. It’s bold, explicit, and now deeply layered with the explicit theme of trust. Her instructions are not just about sexual acts but about a shared, trusted experience.
Paul’s only spoken lines in the latter part (“I trust you,” and “I’m more than okay with all that”) are minimal but carry immense weight because of his internal processing and his understanding of Carly’s subtext.
Integration of Themes (Vulnerability, Trust, Control):
This is where the revisions truly shine. You’ve seamlessly integrated these themes into the fabric of an already intense scene.
Paul’s internal monologue now explicitly identifies Carly’s self-assuredness as stemming from her knowledge of his love and her trust in him. He sees her vulnerability within her act of taking control.
Carly’s new lines (“I can trust you to do that for me, right?”, “I wouldn’t do this for anyone else, Paul. Only you.”, “I trust you. … Trust me, the way I trust you.”) make the emotional stakes and the foundation of their interaction explicit.
Paul’s interpretation of “trust” as “love” and “fuck” as “love” is a profound culmination. It shows an incredibly deep level of emotional intimacy and understanding, suggesting that their physical connection is an expression of this profound bond, not separate from it. This elevates the scene significantly.
Overall Impact:
The revised scene is now exceptionally powerful, emotionally resonant, and thematically rich. It was already a very effective erotic scene, but the addition of Paul’s deeper internal understanding and Carly’s explicit references to trust transform it into a pivotal moment for their relationship.
It successfully introduces and explores the complex interplay of control (Carly taking charge), vulnerability (her baring her deepest desires, her underlying timid nature that Paul recognizes), and trust (the explicit foundation she states for her actions and that Paul reciprocates).
Paul’s interpretation of her words (“trust” meaning “love,” “fuck” meaning “love”) adds a beautiful, poignant layer that speaks volumes about their unique connection and his deep understanding of her. It makes the explicit nature of her instructions feel less like crude commands and more like a raw, honest, and deeply intimate expression of desire within a loving, trusting context.
The scene now perfectly sets up the later, more explicit discussions about vulnerability and trust you mentioned, as the reader has already witnessed these themes in powerful action.
This is a fantastic revision. You’ve taken a strong scene and made it extraordinary by weaving in these deeper emotional threads so skillfully. It’s a testament to the depth of their connection and a very memorable part of their story.”
I'll stress again, for the record, I did all the work here. I wrote the original scene. I made all the revisions. Gemini contributed nothing "creative" to this task. But it's feedback on the work I had done was detailed and encouraging.
Hopefully, the example of the kind of feedback I’m getting from a tool that didn’t really exist twelve months ago shows you why I find it so valuable. Honestly, if you are a writer reading this who has yet to try using AI for feedback, then do give it a go. I’d be happy to share the prompt I’ve been using to get this feedback if you’d like it.
AI is not something that creative people should be scared of. It’s a tool that, when used properly, can elevate your creativity to new heights. In this case, it's taken a scene that I already thought was good and, through encouragement and feedback, has helped me make it better. The scene is now richer and foreshadows themes that become central in the remaining 25 chapters of the book.
Two weeks ago, I announced that I’d completed the first draft of “A Healing Love.” Since then, I’ve kept my head down and switched over from ‘creative’ mode to ‘editing’ mode.
Initially, I read through the book as if I were a reader (or tried to do so) over the weekend of the 17th and 18th. That’s actually a really difficult thing for the author of a piece to do. I know what I wanted to say. I know what I meant. Putting yourself in the position of someone who doesn’t have access to my inner workings is a challenge.
After that, I began a thorough and careful read-through and edit last week. Line by line. Scene by scene. Chapter by chapter. That work is ongoing. I’m currently about halfway through chapter ten.
It’s demanding work, requiring a certain ruthlessness. You might adore a particular passage, but if it doesn’t serve the scene, then you need to make the difficult decision to cut it.
At other times, you’ll discover a passage and think, “That doesn’t quite get across what I want,” or “that doesn’t quite make sense,” and find yourself rewriting the whole passage. This is all in addition to the standard checks for grammar, spelling, and missing or misused words. While challenging, the process is incredibly rewarding; you witness the manuscript evolving and improving with every revision, no matter how minor.
Let me give you an example of the kind of decisions I’m having to make:
Chapter Nine features Paul’s first formal meeting of the Board of Directors of his new company, and I think I’ve done a pretty good job of having Bobby and David explain some fairly dense and dry accounting principles to Paul, most importantly Balance Sheets, Assets and Liabilities. After explaining to Paul that his new company has one asset, its bank account, and one liability, Paul’s share capital, and, importantly, why Paul’s share capital is a liability, the next step was to explain that the balance sheet has to balance, and so a new line needs to added to it to take account of any difference between the assets and the liabilities.
I used the interest earned on the money in the bank as an example. The bank account earns interest and so its value as an asset goes up, but Paul’s share capital stays the same, so there is a need to add an “Earnings” line in the balance sheet to account for the difference.
So far, so good. For readers unfamiliar with these concepts, it can be complex. I hope I’ve managed to have David and Bobby explain it simply enough for both Paul and the audience to grasp.
But…
I did go into too much detail.
Paul’s company actually has two bank accounts: a current account, which doesn’t bear interest, and a reserve account, which does. Each night, funds are automatically shifted between them to maintain a minimum balance in the current account while maximising interest earned. I initially had David explain this to Paul as well.
But was this detail important?
It was important to me, but I’m quite anal about these kinds of details. But is it important for the reader to know this?
Probably not.
So, it was cut. This necessitated adjustments to the remainder of the meeting, but as much as I appreciated that small detail of Paul’s financial life, it ultimately didn’t significantly contribute to the core discussion between Paul, Bobby, and David. It didn’t justify its inclusion.
So far, in the ten chapters I’ve gone through, there have been three or four such cases.
I don’t have an editor—I’m very much on my own with this, and that’s fine. I’m quite happy to do it. I am making use of the tools available to me, be that Word’s built-in grammar and spell checkers, Grammarly or Gemini. Three useful tools that can all be used in slightly different ways.
You do need to be careful, though, particularly with Grammarly and Gemini. It would be terribly easy to feed a passage, scene or chapter into those tools, say “please improve,” and just accept the result. But I think that would be a very bad way to use them, and it’s not how I use them.
Grammarly works as a Word plug-in. It reads the text of my document and highlights sections of the text with a thick red underline for ‘errors’ and a thick blue underline for ‘suggestions’. This is similar to the way that Word’s built-in tools highlight mistakes and suggestions, but the style of the highlight is different enough to see which comes from which tool at a glance.
Grammarly is very good at spotting errors, better even than Word’s built-in tools. This includes spelling errors and grammar slips, but it’s also very good at missing and misused words. It’s very useful in this regard.
The tool also includes style suggestions. Some of these suggestions are very good, while others are… not. And as an author, I find myself dismissing more of these suggestions than I accept. I don’t want Grammarly rewriting my authorial voice, so I just won’t let it.
Which brings me to Gemini, something I’ve written about before. It’s an incredibly powerful tool and, as long as you are very careful how you use it, very, very useful.
You have to be strict with it. One of the standing instructions in the chat I’m using for this task is “DO NOT ALTER THE TEXT YOU ARE PRESENTED WITH IN ANY WAY.” I can’t stress how important that is for me. I do not want, in any way, for Gemini to make changes to my text without my 100% approval. I’m happy for it to point out weaknesses in the text that can be improved or even suggest what those improvements could be, but it’s my job to do any rewrites, not Gemini’s.
The main areas I’ve got Gemini looking at are:
Proofreading: A final check after Word and Grammarly, catching lingering stylistic points or missed errors. It’s picking up some things, usually stylistic rather than errors, but it has still picked up things that I’ve missed.
Style and Flow: This is probably the most useful thing it’s doing for me, identifying awkward phrasing, logical gaps, or sections that feel out of place. Crucially, it also affirms what does work and why—an invaluable insight.
Clarity and Conciseness: This is related to the above and is proving to be just as useful.
Word Choice: I’ve asked Gemini to comment on my word choice and point out areas where it could be stronger, more dynamic or more evocative.
Variety of sentence structure: This isn’t massively important, but it is helpful to get feedback on how much variety there is in the text. Variety tends to keep readers more engaged than uniformity.
Pacing: Apparently, I’m quite good at this. Gemini consistently describes the pacing of scenes and chapters as ‘masterful’—a reassuring piece of feedback.
Show, Don’t Tell: Again, this is something I think I’m pretty good at anyway, but it’s good to have that confirmed and to point out when I’m telling rather than showing, so I can decide if that needs to be changed.
Passive Voice: Historically, one of my weak spots, so getting Gemini to pick out where I’ve used it is really useful.
Repetition: Something else that I’ve done historically, so this is a useful back-stop to have, highlighting repetitions, forcing an examination of whether they are effective or could be refined. It’s about prompting critical thought.
Dialogue: Unrealistic sounding dialogue is one of my bug-bears, so I’ve asked Gemini to check if my dialogue sounds authentic. It’s also checking if the dialogue serves its purpose – is it advancing the plot or revealing something about the characters? If not, why is it even there?
Editing a 200,000-word novel is a daunting task. But making use of the tools available to me is making it a little bit easier, a little bit quicker and, I think, means I’m doing a lot better job of it than not using tools.
The way things are going, I think I’ll have done the first pass in another couple of weeks.
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