Revise & Resub (RevPit) is an annual contest where writers can win a manuscript revision from a professional editor. This is my second year participating as a volunteer editor; I absolutely adore the community and being involved in this event. As part of the contest, each editor does a Q&A on their Bluesky account using the hashtag #AskEditor, where writers can ask them questions about writing, editing, querying, or publishing.

I thought it would be helpful to put a bunch of those Q&A’s all in one spot. I’ve curated below the questions and responses that would most apply to a wide range of writers, but if you would like to read every single Q&A in its full form on Bluesky instead, you certainly can! Here are the full threads for each editor:

But for a sneak peek and some stellar advice, read on! Note: I’ve reworded some questions to be more concise and lightly edited some of the answers for blog format.

Writing: Beginnings and Endings

A. The main sign that the writer understands pacing and narration is pretty simple—I feel curious to keep reading. That's really the main thing you're trying to accomplish in your first pages. Readers should care about what's going to happen to the protagonist. —Allison Alexander
If I don't get a feel for the MC, what they want and why they're doing they things they do, I have a hard time moving forward. —Ayesha Ali
I would question whether those things "need" to happen first. If they are not interesting, why are they included? Can they happen off page? Where is a more interesting place the story could start? —Allison Alexander
It depends on genre. The ending should fit the tone. Like in Horror, I want to feel uneasy by the end even if the hero prevails. Most importantly, the main plot should wrap up as well as possible. But some loose threads are okay for certain subplots or main plot details, even in a standalone. —Hannah Kate Kelley
Endings should logically follow the story. No plot twists that don't organically flow from the story (eg. "JK! It was all a dream!"). MCs that don't evolve are also unsatisfying. Stories are fundamentally about change, so if that doesn't happen, your reader won't be satisfied. —Hanna R. Neier

Writing: Point of View

- Deep POV + rich interiority
- Minimize filter words (see my free download)
- Show the chain of thoughts > emotions > actions on the page
- "Show" what will have an impact. "Tell" what the reader needs to know but won't really care about
—Jeni Chappelle
A. Honestly, I like when multi-POV books have the POV character as a chapter header. I'm all about clarity. Yes I should be able to tell without it, but I like when the reader doesn't have to figure it out. —Carly Hayward
Multiple POVs are best when each POV is necessary and their voices feels distinct. I should know who's who from the first paragraph or so. But each POV must be justified, whether it's a major or minor character. And pay attention to balance, especially in dual POV stories. —Hannah Kate Kelley
I've seen it. Many readers may not even realize it, but they may feel something is "off" with one POV. There should be a compelling why. A different timeline or dimension. A very different character. Make it make sense in the context of the story. —Miranda Darrow
First is probably obvious, but I find that headers/markers that identify the new speaker SO helpful. The biggest thing is the sharing of information. Keep track of the moments they're all on the page together vs. not to make sure secrets remain or surprises can happen. They won't have all the same memories or be privy to all the same information, so you have to make sure they "stay in their lane." Verbally share info with each other in some way if needed. Don't assume they all know and feel and will respond to the same thing in the same way. —Nicole Frail

Writing: Voice

We just talked about voice on an episode of The Worldbuilder's Tavern podcast!
Age category definitely impacts things. I expect middle grade to have a more hopeful, positive tone than YA or adult. I expect YA to be full of interiority (and a bit of that teenage angst). Adult is a bit more varied.
My favourite voices show a strong perspective—the character has a unique way of seeing the world, opinions, preferences, favourite phrases, etc. —Allison Alexander
Prose is the overall writing style; is the author trying to be invisible or use a certain style. Narrative voice is the experience the reader receives based on word choice, sentence structure, etc. NV is like hanging out with different friends and getting different experiences. —Ayesha Ali
Character voice refers to the unique way that a character speaks and expresses themselves and reflects their personality and perspective. It’s usually found through the character's dialogue and, for POV characters, in their internal narration.
Character voice will be different for various characters in your different stories and even among characters in the same story.
Examples of books with strong character voice: Nothing to See Here by Kevin Wilson; Florida Woman by Deb Rogers; Demon Copperhead by Barbara Kingsolver; Where the Crawdads Sing by Delia Owen; 11/22/63 by Stephen King.
Tips for improving character voice:
1. View scenes through your POV character's perspective.
2. Pick details they would notice.
3. Use vocabulary and analogies they would use.
4. Make sure each character, through dialogue and actions, sounds authentic and three-dimensional.
Authorial voice is not limited to one book or one character. It's the distinctive writing style and tone that an author brings to their work, including their vocabulary, their sentence structure, their narrative approach and what types of literary devices the author likes to use.
Authorial voice remains consistent throughout a book regardless of which character is speaking or has the POV and frequently follows the author throughout their career (though some authors have known to have some phases just like Picasso had his blue period and his cubist period).
Compare the sonnets of William Shakespeare to those of Elizabeth Barrett Browning. Test by pulling poems by Robert Burns versus Emily Dickinson. Ask how various authors would write the same passage: Jane Austen vs. Sophie Kinsella vs. Silvia Moreno-Garcia.
Identify authorial voice by comparing multiple books by one author. If their characters all sound the same, they could improve character voice. If their characters sound different but the work has the same "look and feel," and leaves readers with same experience—that's authorial voice.
—Miranda Darrow
Characters being overly conscious of how young they are!!! Emphasizing “grownups” or how big everything is compared to themselves. It always speaks to an adult writing a kid. Kids don’t think like that. To them, they’re larger than life.
I know it hits when the voice sounds subconsciously immature. They have immature thoughts and reactions, but to them, it makes TOTAL sense. They’re not aware of their own mentality. They don’t know what they don’t know. And that’s the fun of it.
—Madelyn Knecht

Writing: Characters

So, morally grey/villainous doesn't preclude likability. It's about understanding their motivations and wounds. If we "get" why they are doing something we can usually still like them even if we don't agree with their actions. —Carly Hayward
There are many ways you can take it that makes an animal companion compelling. If they're intelligent enough, they can be treated like any other character (like Donut in Dungeon Crawler Carl). They could be more mysterious and guide the main character (like Mogget in Sabriel). They can be extremely plot relevant (like Doomslug in Skyward). They can simply be a companion that brings out the humanity of the main character and is helpful from time to time (like Mouse in Dresden Files). Personally, I love it when they are as relevant to the plot as any other character. —Allison Alexander
To me, the best antagonists have something they want that is beyond just the harm/obstacles/effects caused to the main characters, and have enough depth to be a main character in an inverted version of the story. —Raquel Brown
Read Kill Creatures by Rory Powell. The narrator is an awesome example of unreliable.
Give us a reason to suspect they’re unreliable. Either they have a history of misinterpreting things, they’re often under the influence of something, or pieces of their memory don’t match up with what we, as the readers, know. I think unreliable narrators are more effective when they’re *convinced* of how it happened rather than being unsure/wondering if they’re losing it. It’s more fun if they’re dedicated to the lie
—Madelyn Knecht

Writing: Genre

Study genre expectations. Establish your tone in three words or so, then check each chapter is aligned. And don't throw in big tonal shifts without grounding the events first (i.e. don't introduce sudden sexual assault to a YA Romance if the story doesn't carefully handle the event before and after).
—Hannah Kate Kelley
My number one piece of advice advice—read more! Writers can learn by observing how others have approached it.
For example, in The Fifth Season by N.K. Jemisin, the reader is dropped into the story and figures out how the world works along with the main character. It brings sense of discovery without slowing pacing.
—Natasha Hanova
If we’re talking about the villain reveal, introduce all your characters early on, and have your protagonist and other characters consider the key players, especially the actual villain. It’s obvious if they get suspicious about everyone but the killer. As someone who writes thrillers, I always stress out when they’re in a scene or the characters are talking about them, but the truth is, if you do this for all the characters, they can all be suspects.
Next, get feedback from friends, betas, or editors. Outside perspectives really help to find out if you’re being too obvious or not dropping enough hints.
And finally, one of my favorites. Drop hints in very subtle ways that are almost like details a reader could read without warning bells going off. Once the reveal happens, the breadcrumbs will become super clear.
—Demi Michelle
Thrillers are about suspense, the character being in danger, and racing against some kind of ticking clock. This is where we see a difference from mystery. Mysteries are more about solving the puzzle; thrillers are about survival. Horror typically has these things too, but for me, and this is just my opinion, horror is darker. That could be in tone with a gothic setting, or there could be lots of gore, or maybe the survival has a speculative flare. For example, the character could be trying to not be killed by a shadow monster, or a flesh-eating illness, or something like that. So, in contemporary thrillers, the threat is usually a human killer, or kidnapper, someone along those lines. In horror, there’s often a touch of the imagination that bridges into the speculative realm.
—Demi Michelle

Writing: Miscellaneous

Even rest moments should captivate us and drive us forward. There shouldn’t be (in my opinion) a moment of “oh, everything is fine, I could just shut the book right now and be satisfied.” There should always be tension of what we know or suspect is coming, or threads we NEED to resolve. If you have a moment that you or readers say drags, look for the tension. What are we expecting? Have you added enough characterization and plot intrigue to propel us through the quiet moments? What purpose are these quiet moments serving?
—Madelyn Knecht
To increase word count, sequel scenes. These are smaller scenes, or moments at the end of a scene, where the character reflects on what happened and makes a plan for the future. It can be purely internal or it can be a conversation which may lead to an argument.
—Ayesha Ali
I consider it successful if 1) I didn't see it coming, or 2) I did see it coming, but it's satisfying anyway. Seeing how beta readers react can really help here. If it's too obvious, you can take some clues out or add some red herrings. If it's too out-of-the-blue, you can add more clues in! —Allison Alexander
Readers generally need a lot less information than you think they do. I always suggest dripping, rather than pouring, worldbuilding information (by pouring, I mean dropping paragraphs of worldbuilding info that is slowing down the story). It's often a better strategy to deliver a tidbit here and there to intrigue readers.
This is particularly effective at the beginning of the novel. As the story goes on and readers are fully engaged, you can drop heavier loads of information on them.
—Allison Alexander
First thing that came to mind: sagging/dragging in the middle! (Have we looked at character arcs, GMC [goal, motivation, conflict], are multiple scenes serving the same narrative purpose, are subplots meaningful, are we killing time, are we saving too much for the very end, are we truly pushing the characters to grow?) —Raquel Brown
A solid subplot should boost the main storyline instead of distract from it. It should run alongside it to emphasize themes without sacrificing pacing. Think about what the subplot adds to, and what it highlights about, the overall story and its themes —Madelyn Knecht
Audiobooks if you can. It helps me turn off my editor brain when I'm not actually seeing the words. If you can't, lean into the angst and take notes. What does the writing make you feel? How does the author do that, on a technical level? What words hit? —Jeni Chappelle
Definitely a variety of sensory details. Often, authors only use visual imagery for descriptions. Worlds that really grab my attention are ones that are rich with all the senses because they’re complex and immersive. —Demi Michelle

Editing

It comes down to intent and respect. If you're doing something against convention, there needs to be a good reason and it needs to do so with an understanding of the norm. You can tell when it's done with love vs. not. Does it make it better or is it just flying in the face of expectations? —Carly Hayward
I like to use a reverse outline when I edit. I will make a spreadsheet and write out a short summary of what happens in each chapter. Then I'll note where basic plot events occur. You can get a bird's-eye view of the structure that way. —Allison Alexander
Breaks. As a writer, that means not editing the second I finish drafting. As an editor, that means doing a first quick read through, thinking things out a little, then getting to work in earnest. They are such different parts of the brain and that's a good thing! —Hannah R. Neier
As an editor: If I'm working with a client on a manuscript and see a problem but no clear solution, it probably means I don't know enough about the author's intention/story (especially true on partial edits) so I'll either meet with or email my author for more clarity and then the fix will come.
As a writer: When self-editing and I know what needs fixing but not sure how to do it, there's nothing like a good chat with some trusted CPs [critique partners] to help me figure things out. Sometimes, even texting them will trigger a solution in my head. Writing friends are essential!
—Hanna R. Neier
For new text added during revisions, try asking "Why did I add it?"
If it was to address a plot or character arc issue, does it do that? If yes, clean it up. If not, revise until it does.
If you added it "just for fun," figure out if it advances the plot/serves a story purpose.
—Miranda Darrow
Do - Let a POV character with one agenda interrupt someone who is working toward some conflicting goal. Let them weigh their thoughts and then jump in, trying to win people to their side. Comedy and tension both stem from someone saying or doing something unexpected. Mix it up.
Don't - Drag readers through boring formalities of real conversation. Skip intros and dull chit-chat. Cut out those empty words and get to the heart of the conversation.
Dialogue is real speech less the boring parts.
—Miranda Darrow
I have a short PDF guide on self-editing if you sign up for my newsletter. And I am actually working on a full-length book about this to help writers with revisions. I recommend using a reverse outline for self-editing (Jeni Chappelle has a helpful explanation for reverse outlines here). —Allison Alexander
It's a tough call, even for me. You have to ask yourself: Do I have enough interest and energy to continue this? Is this idea marketable/salvageable enough? Will my writing skills grow in the next draft? Or do I want to invest in another story? Don't give up too early. But don't stagnate either. —Hannah Kate Kelley
Some items to check before querying:
- Have high-level plot and character arcs been evaluated/plotted out? (After the manuscript is finished.)
- Has it had at least a few eyes on it to offer feedback? (Bonus: Has anyone else read the whole thing, not just parts?)
- Has it been able to sit and simmer?
- Is there a central question/theme?
- Have premises, POVs, and twists been tested, viewed from another angle? (Do things make sense?)
- Again: Have the chapters simmered? (Iteration!)
- Has there been a pass for basic typo cleanup?
- Are there other things to focus on while patiently waiting?
- Are you, as the author, happy with it? Can you see where you started from, and where you are now? Do you feel like it's your best work?
An exact point isn't super clear-cut (esp. because every manuscript/author is different), but if someone's gone through those items I'd say they're in a good place!
—Raquel Brown
One thing that helps me, and that I encourage writers I work with to try, is time away from the story I'm writing. Stepping away and coming back later when I'm not so close to the story lets me look at it more objectively, and experience the story like a reader would. That helps me see where parts of the story may have been clear to me as the writer, but might not be to a reader who doesn't have the insights/context I have.
—Leah Rambadt
Filter words are words or phrases that talk about the world as it is filtered through the character’s point of view (POV). They tend to explain what the characters are doing, instead of showing what the characters are doing. Filter words create narrative distance and remind us that we are reading something, rather than experiencing something along with the characters. It puts readers on the outside of the restaurant, blocked from experiencing the sounds, tastes, smells and feels along with the main character.
Filtering takes the reader out of the moment and causes them to watch the character, rather than the action. In limited POV, everything mentioned is from the character’s direct knowledge and the ‘notice,’ ‘see,’ ‘look,’ etc. is implied. There is good news though, in some instances, filter words can add flavor to your story. When used with intention, filter words can:
- Clarify what’s happening
- Create distance to ease tension
- Create mood
Ask these questions to see if filter words are helping or hindering:
- Does it create unintentional distance between the main character and the reader?
- Can it be deleted or replaced? (very hungry vs. ravenous)
- Is it redundant or telling what you go on to show? (this happens a lot with visual cues)
—Natasha Hanova

Working with an Editor

Selecting an editor: treat it like finding any other skilled professional. Ask for recs, research, maybe start with a smaller package to see how you work together
Services: tbh, everyone calls services different things. Tell the editor what you’re kind of feedback looking for and what your budget is. An experienced editor will be able to help you determine the right place to start.
—Jeni Chappelle
I haven't noticed a consistent thing writers push back on; it's generally just stuff that they are really passionate about keeping when I've suggested a change might strengthen the plot or character. Often, it's because they have a plan for something in a later book that I'm unaware of. Or it's sometimes a theme or plot point they were trying to get across that wasn't getting through. Usually, we'll discuss why I made the suggestion and alternative ways of solving the issue. It's always up to the writer what they take of my suggestions. They are free to ignore any of my advice! —Allison Alexander
I see that individuality/life as tied to the author’s goals, hopes, and likes for the book—there are some things that, depending on the time, are just going to be a harder sell for tradpub. The biggest thing, in my opinion, is finding out what is the core of the story for the author, and building/polishing the "marketing/commercial" aspects around that center. I think making sure there is a piece of the process that exists outside of that "to be shown/sold" arena is really important to cultivate that life and sense of human connection. Part of it is, I think, just also being open-minded, and thinking creatively to get that central message (life/unique aspects) across. It's not always a straightforward path to figure that out. But we are lucky in 2026 to have info/resources (industry-wise), so like applying craft rules, we can see works that bend rules And maintain marketability while doing innovative stuff!
It's a dance on both sides. Which is an unfortunate reality of Selling—some compromise. So that's part of the convo during the editing process to make sure an author knows the road ahead BUT still maintains and trusts their own creative control.
—Raquel Brown
My methodical approach is the same for all manuscripts, and I’ve never had no notes. Even when writing within your own perspective, there can be stereotype/sensitivity issues you might not aware of, and that will naturally multiply outside of your perspective. —Laura Galán-Wells‬

Querying

The mindset for any author who wants to publish, whether querying agents or self-publishing, needs to focus on the business.
Tough love time: Your book is not your baby. It is a product. Your agent is not your knight in shining armor. They are a professional who sells distribution rights to a product (aka your book).
This can be really hard when you've spent months or even years working on a manuscript. But if you want to succeed in publishing, you have to be able to make the distinction. Once you put your manuscript out into the world, it's no longer just for you. Which means you have to consider readers.
What does considering readers really mean though?
In the manuscript, it means knowing what your readers expect and using that to meet their expectations plus surprise them. It means thinking about how each element of your manuscript impacts them—plot, character, pacing, worldbuilding, voice. All writing craft advice is really about how to use reader expectations to have an intentional impact on the reader.
—Jeni Chappelle
Market awareness and voice (not the same voice as the manuscript). There are patterns in successful queries, but ultimately, a good query just has to sell you on the marketable parts of the book. That's a very different skill set from writing a novel.
—Jeni Chappelle
My top three: sales record, reputation, and communication style. If it's a new agent, check the those for the agency and try to find out about mentorship there. Yes, Publisher’s Marketplace, also Query Tracker, Publisher's Weekly, Absolute Write, Writer Beware, MSWL, and socials. —Jeni Chappelle
There's only one section your novel can go in the bookstore, so I'd pick the one where you think the readers who love it the most will find it. It's not a faux pas to list two if it's a genre blend, though, like a horror romance or a sci-fi mystery. —Allison Alexander
I don't know the answer to this, but I suspect it's different for every agent (life stuff just happens when it happens, you know?). I'd suggest querying when you're ready and when the agent is open to queries. —Allison Alexander
Even epic fantasy at 120-140k is going to be a hard sell as a debut right now, never mind other subgenres. You will have the best chance by having a word count under 100k. That doesn't mean higher word counts are impossible, you would just have to really wow everyone at every step of the process. —Allison Alexander
No. A query letter and synopsis need to sound more professional so the agent can read it quickly and get the information they need. You can put a line or two using your voice at the beginning to showcase it. —Ayesha Ali
TV shows, movies, games, other media are great! In general, I suggest having at least one book comp as well. —Jeni Chappelle
Generally, if they've structured the query properly (one paragraph for metadata, three-ish for plot summary, one for author bio), have relevant comps, show what happens in the novel and why readers will care, I'm like "yep, this person is query guru." —Allison Alexander
I don't see personalization as the make-or-break for the query letter. Great but not essential. If you really need the word count, put it into the story bits. (I'm also wondering now how long the personalization is running—but I know every word matters, it is tough!!) —Raquel Brown
I have a whole page for writing query letters on my website! It even includes examples of successful query letters. For how to write a synopsis, check out this post from Jane Friedman.
—Allison Alexander
No one wants to reject your book. No one’s rubbing their hands together thinking “whose day can I ruin now? Muwahahaha!”
Publishing is filled with people with a passion for books who are willing to work for free/pennies purely for the love of the game. Agents WANT to fall in love But sometimes things don’t mesh. And it sucks for everybody.
—Madelyn Knecht
There are always comp titles. You may need to just look for them in a different way. You can comp plot, characters, writing style, worldbuilding aspects, etc.
If Tolkien is one of them, who are the current authors inspired/compared to Tolkien? They’re out there. Goodreads, Publisher’s Marketplace, and book lists are great places to find comp titles. More info on comp titles here.
—Madelyn Knecht
Agents are pretty specific about their MSWLs [manuscript wishlists]. Weigh which of the two is heavier in your story. If it’s mystery and romance is secondary words it smartly: mystery blended with romance or mystery with a hint of romance. —Ash P
I wouldn't do anything different for querying a high word count novel beyond tempering your expectations. Some agents have a cut off, so they won't even see queries for novels above a certain word count. —Allison Alexander
Rejections on a query don't necessarily mean you should 'give up and move on' per se, but it does mean there is likely work to be done on:
1. Query
2. Manuscript
3. Both
if you're getting rejections on a query with NO full requests, I'd say the query letter needs work. if it were ME, I would reconsider my query after maybe 40ish with no full requests.
If you're getting rejections but some full requests, I'd say to stick it out for longer—it always comes down to right person, right time. For me, my limit was 100 in this scenario. it varies for everyone, depending on your mental and emotional capacity.
if you're getting lots of full requests but rejections on the manuscript, then it is likely your manuscript needs work—if it were me, I'd say probably 15-20 full rejections indicates work needing to be done.
Ultimately, querying is a personal process, and it's always best to seek fresh eyes on a query or manuscript if you're feeling like rejection is a consistent pattern.
HOWEVER—remember that it only takes one right fit.
—Dana Draper

Publishing

Cozy, sci-fi, and horror are having a moment. It seems like publishing is all either very light, cozy stories or very dark stories, which makes sense in this timeline. —Jeni Chappelle
Writers should probably be aware of how TOUGH it is in publishing. Getting an agent is hard, and it doesn't guarantee your book will sell. And if your book does sell, it doesn't mean your publisher will do much to market it. I guess the advice is don't quit your day job.
Many people also think of writing as a talent. If you write a book and it doesn't sell, that's it. But writing is a skill. You get better it the more you do it. Similar to how you won't perform a Mozart concerto in front of a packed audience the first time you sit down to a piano, it's unlikely your first book ever will garner publisher interest, but if you're learning and growing with each book, maybe your third, or your fifth, or your tenth, will sell. Succeeding in this industry takes a lot of perseverance and a little bit of luck.
Set yourself up for success by learning craft (free ways to do this include analyzing books you love, getting beta readers, reading books on craft, and, of course, writing), and understanding that writing a publishable book takes time and practice. If you love it, stick with it!
—Allison Alexander
Oof, I love this question and it's definitely something on my mind a lot. Some items: Let someone else be the one to say no; we need to keep creating and keep pushing without trying to fit inside a box in advance. Refine traditionally commercial aspects without trimming representation. And, to be honest, I know the focus of this is on trad pub—but it's hard for me not to say in some ways that we need to look beyond it, because it's not been (many thoughts here) the pinnacle of diversity and representation (not to discount good things that are happening!!!).
I think we as artists, and as people in a variety of margins, need to keep knocking at the door. Showing you're there, supporting what you can and exploring all options to get the story out. I don't know that there's an ideal balance when it comes to compromising core pieces of it.
—Raquel Brown
It did go back down once everyone started back to workplaces. However, the economic fallout from COVID has meant tighter publishing budgets, closing imprints, etc., and that puts a lot of pressure on agents and acquiring editors, who already aren't paid enough —Jeni Chappelle
There's been chatter for a while that librarians and educators are looking for more "young" young adult. We have so much for the 16-18 crowd, but not much for the kids who are moving out of middle grade and looking for young teen stories. —Nicole Frail
No but only because there are way, way more agents than there are pubs. That's truer now than ever, with the big pubs seemingly always merging. BUT if taken as a percentage? Yes, sometimes. —Jeni Chappelle
When you have agent rep already, it becomes teamwork. They want your book to sell just as much as you do, since that's how they'll be paid. They'll be making decisions based on long-term plans they have for you, too. It's not just about that one book. —Nicole Frail
Advances are considered royalties, which are freelance income. You'll pay federal, state, and local (if applicable) but also the fed. self employment tax, which is usually 15.4%. I suggest setting aside 30% of every check received to cover your taxes and paying them quarterly. Also, I suggest setting up a separate bank account for that income and registering as an LLC to protect your personal finances from your business finances. —Nicole Frail

#AskEditor Roundup for RevPit 2026