FAQ
Here's a deeper dive into my gay fiction editing, author coaching, and manuscript evaluation services.
Great to meet you!
I’ve worked with words for over a decade as an educator, an author, and an editor.
And the order of those depends on the day of the week!
Editing and coaching are a collaborative process, and I work hard to support, educate, and set authors up for success with this current manuscript and all future books.
I offer editing and coaching services at the developmental, big-picture, and structural level, meaning I can help authors get unstuck, get ahead, and—most importantly—get the draft done.
Authors say I’m easy and fun to work with.
I offer guidance but also challenge authors to dig deep and bring out emotion and depth in their characters and scenes.
Excellent communication is at the heart of all I do, so let me know where you are in the novel drafting process and let’s see how I can help you.
My work on gay fiction includes cis and trans men, as well as AMAB individuals and others who identify with or express masculinity.
No hate.
Still have questions? Hit the button below!
Here I Am, This Is Me!
Provide developmental, copy editing, manuscript evaluation, and coaching services to authors who believe there is value in having authentic queer characters in the fiction they write.
What are my top five values as an editor?
Work in a manner that benefits the author, such as meeting all deadlines, communicating frequently, and providing transparent terms and scope of service. I work hard to tailor my fiction editing services to the needs of the authors I work with.
Work with authors who identify as LGBTQIA+ or have undertaken research and/or are willing to work with an authenticity reader on characters outside their own lived experience. To ensure a great service for authors, I focus on queer contemporary and historical romance, LGBTQIA+ fiction, and crime fiction only.
Work on projects with the same care and attention that I give my own work, while always acknowledging that the manuscript is not my own, so decisions about edits and style are always those of the authors.
Work knowing my own limitations and areas that require improvement. View my editing skills as in need of consistent updating through accredited professional development programs and engagement with professional bodies such as the LGBTQ+ Editors Association, the CIEP, the EFA, and Club Ed.
Work to ensure the language in a manuscript is used in a conscious, fair, and equitable manner when dealing with groups of people who are or have been traditionally marginalised. This requires me to actively engage and educate myself on current and relevant language changes.
My Boundaries:
I require booking in advance once a complete manuscript is ready. New clients are asked to pay a deposit. Repeat clients are scheduled without a deposit, but if a deadline is missed, deposits are required for future bookings. This ensures the author and editor are clear about their roles, and both parties are happy!
To Sum Up:
I am an open-minded and inclusive gay fiction editor for authors who want to explore their characters and collaborate on ensuring the most accurate LGBTQIA+ representations are presented to the world.
For me, developing a conscious language strategy means avoiding a rigid set of rules or policing of language because there are few absolutes, especially in fiction. I’ll always try to evaluate what various communities need in terms of language use.
Language evolves over time, and so will my editorial values, but ensuring respect and dignity for those written about will always remain.
I’ll always try to give grace and add transparency to the editing process. Whether the novel I’m editing is queer romance, crime, historical fiction or memoir, my sole purpose is to bring out the author’s vision and write a remarkable story.
Your ideal story!
I need an editor, editor, an editor’s what I need!
Before any type of paid editing, I usually recommend an author works with alpha or beta readers, who might be genre experts, huge romance fans, or writing crew members. Ideally, it is people you trust, but maybe Mum or your brother is not the best choice (or sole choice), because they are biased in our favour and might give less-than-helpful feedback. (Sorry, family!) This is a huge generalisation, and I’m sure some mums and siblings give great feedback, but we want constructive and actionable ideas, not a pat on the head.
Developmental editing is primarily a big-picture focus on your story. This can be done as a full developmental edit or as a manuscript evaluation; a dev editor usually works with comments and queries within the manuscript and provides an overview in an editorial letter. A manuscript evaluation typically provides all the feedback off-page in an editorial letter. As with most professional services, these will vary between editors, so be sure to ask questions about what type of feedback you will receive.
A developmental edit will likely focus on characters first. Are the goals, motivations, and conflicts clear for the main characters? Are they rounded with wounds, flaws, and opportunities to learn, grow, and change? Depending on the genre, but let’s use romance as an example, they’ll also be reviewing how subplots and secondary characters interact with the main characters.
Pacing, dialogue, setting, theme, and other macro-level concerns within scenes, chapters, and across the whole story are also considered.
Line and copy edits can be viewed as sentence- and word-level edits. For indie authors, I combine line and copy edits, because it makes it more affordable and often the two are linked. Flow, style, word choice, repetitions, redundant words, and style guide consistency are key features here.
Authors have preferred styles for things like ellipsis spacing, hyphens, dashes, numbers, spelling conventions, and a host of other punctuation choices. Some authors stick rigidly to US English rules and editors apply the Chicago Manual of Style rules, whereas others will combine some elements of US English and their own preferences. Both are fine, but consistency, such as character eye colours, surname spelling, and place names, must be maintained for the reader.
A style sheet is provided when I copy edit, and this provides all these details tracked across the story. Character details, location details, and timelines (days, dates, season, year, etc.) are tracked to ensure no jumps or digressions. A style guide across a series is invaluable and can be incorporated with a series bible to ensure details like siblings, pets, jobs, housing situations, and relationships can all be maintained, credible, and accurate from book to book.
A final stage is the proofreader. They usually work from the page proofs, which are the typeset pages, and they are looking out for those persistent typos, widows and orphans across lines and spacings, and other formatting issues. I don’t offer proofreading as a service, but I can recommend some excellent colleagues.
From alpha feedback down to the final proofs, receiving feedback on your pride and joy can be hard. Here are a couple of brief tips.
Don’t take it personally! Try to keep in mind the feedback is about the story and not you. Ideally, an editor will leave you feeling inspired to make changes and not demoralised.
Everyone can benefit from editing. Even the best sellers (and editors!) work with editors.
No editor is infallible. Editors edit differently. Despite there being style guides, dictionaries, and ‘rules’, they might miss things. A 95% catch rate for copy editing is considered excellent.
Don’t rush to make changes. Save copies of each manuscript as you make revisions (because you might later change your mind). A good rule is: one suggestion or revision idea from beta readers is an opinion (maybe a well justified and evidenced opinion), but if multiple readers give similar comments, it’s worth checking it out!
Try to enjoy the process! Crafting, revising, and editing a book is a huge endeavour. Hopefully it’s an enjoyable experience that educates as well as guides and you feel inspired to write the next one!
So, here’s me, a copy editor, and my process for copy editing queer fiction.
I’ve always aimed to be a student-centred educator, and I’ve carried this approach into my work as an author-centred editor. The editing process isn’t about me; it’s about bringing out the best in the queer fiction in front of me.
There is some overlap between how I copy edit and how others might line-edit, but I combine them into a single copy editing package because it’s generally simpler and suits the needs of the indie authors I work with.
Ideally, your manuscript has been through a thorough developmental edit (by yourself or with professional help), and multiple beta readers have had eyes on the story.
I truly believe it takes a village, and a community, to bring a great book out into the world, so don’t be afraid to seek help. Feedback can be tough at first, but with the right team, their input can pay off tenfold.
I primarily work with writers of MM fiction and LGBTQ+ characters and themes. My aim is always to preserve the author’s style, to query facts, to correct grammar, spelling, and usage errors, and to ensure the manuscript meets the agreed-upon style, usually CMOS (USA) or New Hart’s Rules (UK).
Ensuring internal consistency for the world where the story takes place is critical. This might mean breaking some “rules”, but making sure they are consistently “broken” is key.
While most authors don’t have a house style, they will have an author style. Some authors pick and choose from UK, USA, Canadian, or Australian conventions of English, and their preferences are the starting point for my copy edit.
When there are no author preferences, I make choices for them based on the first and most frequent usage in the manuscript. I’ll query the author for their agreement before I make any major changes and when it’s not clear what the preference might be.
Step 1
I set up a style sheet (fiction) for the manuscript, and this covers character, place, and a timeline for the major story events. I also include space for unusual word choices, and depending on the genre, this can be quite short or a couple of pages in length. Unusual spellings can be a minefield and are often skipped over by writing software, so keeping a record from page one helps keep them in check.
Across a series, it is important to ensure that characters’ details, including eye colour, hairstyle, height, weight, etc., remain consistent. Places in fiction can be real or made-up, and I might do some fact-checking if the places are real to see whether distances can be covered in the time stated or if places are where they should be on the map.
Fiction copy editing differs from nonfiction in several ways because there could be made-up worlds, non-human characters, naming conventions, and a multitude of words that might be frowned upon in more academic, formal writing, but they are what give fiction its pleasure and power. For me, getting a good sense of the author’s goals and the direction they wish to take the manuscript helps me make many of the decisions I need to make.
From initial chats with the author, usually via email, I know whether the book is a standalone or part of a series. I try to read at least one book from the series, usually the one prior to the one I’m editing, mainly because it helps me get a sense of the writer’s style, and also because I love reading queer fiction! I start to build up an informal style sheet and cross-reference this with author preferences I’ve gathered during our initial conversations.
Step 2
The first pass is to learn the general story and get an overview of the issues that might need attention. I call this step the “mechanical stage,” during which I search for around sixty-five words that are commonly overused and can often be omitted. Each case has to be considered, as it’s never as simple as just hitting the delete button! Sometimes “that” is necessary for meaning, or “a little” fits the tone of the sentence, or “big” is the best word choice for that character and her way of speaking. I also look out for common and repeated turns of phrase. This crosses over into the job of the line editor, but authors often find it helpful to have these pointed out—and some even request it.
I’ll also be checking how single and double quotation marks are used throughout, in addition to the author’s preference for “scare quotes” or other speech marks when required.
Again, author style comes into play with dashes, slashes, and how to space these correctly. CMOS provides fairly clear rules on these, but I will always query if it appears the author has a preferred way to present speech interruptions and parenthetical content. I’ve found that the use of possessives is an area of concern for authors, and usage can vary. Is it Bess’s house or Bess’ house? Well, both are correct, but as with many areas in the copy edit, it’s the author’s preference!
I also look out for filter words, including “felt” and “saw.” While they aren’t wrong, I evaluate how they fit within the manuscript and whether they maintain a suitable narrative distance. Sometimes authors prefer to keep these words because they sound better in audiobooks and help orientate the listener, so that is one consideration I keep in mind.
With Microsoft Word’s Track Changes off, I remove indents, tabs, double spaces, spaces after numbers, and spaces between sentences, and check line spacing. I don’t make many changes, but I highlight the text a great deal. There are further checks covering full stops outside of closing quotation marks (UK style), such as …trees’. With hyphens, I usually check twice: once at this stage to gauge how the author uses them, and again during the second pass. Consistency with compound adjectives, including colours (e.g., light blue, dark blue, red-haired, etc.), is important. As these are often style choices, I decide prior to the edit whether the text is hyphen-heavy or hyphen-light.
Other areas include:
Missing chapter and scene breaks. Chapter numbers, titles, and naming conventions can also become unstuck during the revision process.
Character hair colour, style, length, eye colour, and skin tone.
Wandering body parts—eyes that fly across the room.
Character name spelling and the choice of names. More than two characters with names starting with the same letter can get confusing.
Filter words: She felt, he thought, they believed.
Redundancies: They nodded their head.
Overused words phrases and clichés: ‘just’ ‘a bit’ ‘she smiled and laughed’
Sentence openings and structure: subject + verb, or the same structures used close together or on the line above.
Consistency of text: emails, texts, DMs, signs, posters, and newspapers.
Pace, depth of emotion, and how characters react, move, and reflect in dynamic moments. These can become repetitive or fail to create the clear image the author intended.
Awkward sentence phrasing that requires the reader to stop and puzzle over placement, action order, or the cause-and-effect order in a sequence.
Conscious language: ableist language, slurs for marginalized communities, and historically accurate language (avoiding anachronisms). As a gay man, I am always on the lookout for inaccuracies or turns of phrase that could be offensive or harmful to fellow members of the LGBTQ+ community, so a copy edit with me includes a degree of sensitivity and authenticity reading.
Typography: Authors use different ways to express direct thoughts, indirect thoughts, memories, dreams, emphasis, and flashbacks and they all need to be consistent!
All these fun facts are recorded on a style sheet—for future books and series knowledge.
Step 3
The second pass is where things get low and slow. At this stage, I cover most of the areas I believe writers think of when the word “editor” springs to mind. If only it were as simple as error correction, and I could wield the ‘delete’ button and be done! To me, this is one reason a human editor will always trump writing software—because the nuance and style of each writer is different, and ensuring author preferences are met is currently beyond the abilities of a machine.
Some of the main edits focus on parallelism, ensuring a string of gerunds or prepositional phrases all match. I also check -ise/-ize endings, ensure commas are in the right place and not overused, and work on readability and accuracy while avoiding humorous gaffes. This involves looking carefully at modifier position and adverb placement. Misplaced modifiers can be unclear about what is being modified or might modify the wrong thing—placing the modifier close to the subject is usually a safe bet to fix it. Alongside these, repeated words and phrases that have sneaked past previous editing rounds will be spotted and fixed.
Authors use italics in various ways for imagined, remembered, or reported speech, including dreams, talking objects, and the like. Flashbacks and text within the writing (letters, screen text, etc.) will have a preferred presentation, and I must ensure these remain consistent and conform to the manuscript style.
Coding for headings and subheadings is not a large part of fiction copy editing (for indie authors), but in nonfiction, this requires setting up the manuscript for a typesetter to apply the codes and ensure everything is where it should be on the page. References, bibliographies, images, photographs, and figures are all within the remit of the copy editor, depending on the project.
My personal method for managing comments and queries is to pose them as questions, not statements, because they are often not as simple as correct/incorrect. To avoid overwhelming the manuscript, I record general and recurring issues on the style sheet and speak with the author about any concerns after the edit. As every manuscript is different and every author is different, I try to accommodate their working practices in how I provide feedback. Ultimately, I am helping them with their project, so I try to be flexible and accommodate their needs.
I hope this explanation has provided some useful insights into what goes into my copy editing process and the value it could add to your project. With your returned manuscript and style sheet in hand, you should have all the tools to confidently self-publish, approach an acquisitions editor, or prepare for consistency across the next book in the series.
That, for me, is what Keir Editing and Writing copy editing can do for you!
Editing can appear mysterious or opaque at times, so I thought, why not share how I do what I do? This article looks at developmental editing and how I approach it as an editor of gay fiction.
When working on queer fiction at the structural level, I see myself as a guide, a mentor, a second brain, a provider of tough love, and/or a shoulder to cry on.
Each and every author and manuscript is different, but the goal remains the same: to help shape your book into the best version it can be.
Goals
My first stop on the editing track is to establish with the author what they are hoping to get from working with me. My preferred method is to use a written survey because I think it allows the author time to process and think over what they want to say and how best to plan their response to the questions. Sometimes, I’ll meet with you on Zoom because some authors prefer to talk through their ideas face-to-face. I’m looking out for aspects of genre, audience, and voice, as well as where the author sees the book selling.
Genre expectations
refer to the unique traits and reader expectations for the manuscript, and it’s more than simply the plot. Character archetypes, tropes, patterns of speech, pacing, settings, theme, and word count all come into play and help me see if those authorial intentions are present in the manuscript. A broad understanding of these, and ensuring your aims are on the page, can help future marketing efforts and decisions on where to place your book once it’s ready for publication.
Voice
is important in two ways. First, the author’s voice must be strong and consistent throughout the manuscript. Part of what I can do is identify where the voice seems to be lacking. Second, for those looking into traditional publishing, the publisher’s voice and a knowledge of what they “sound” like is important to be aware of.
Within LGBTQ+ fiction, romance, mystery, and thriller, I spend time getting to know and understand the different requirements that publishers have. I (and nobody, really) can predict if a book will secure an agent and be traditionally published, so it’s worth ensuring the book presents itself with a clear voice; this will keep your readers coming back for more.
For self-publishing authors, I look at voice within the manuscript and then across a series, if that is the case. Your voice is what readers love about your books besides the engaging characters, vivid settings, and powerful plots. No two authors share the same voice, and making sure your voice shines through is one of my top priorities.
First pass:
I’m reading with an open mind and looking for patterns and traits that help me ensure your idea of the genre aligns with what’s on the manuscript. I make notes on everything, but I am also taking in the story as a reader would. Are the chapters well-paced and pulling me to turn the page? Do I feel the intended emotions towards the characters? Does the story start and end where it should? I am a lover of handwritten notes and work with one eye on the screen and one eye on a pad of paper while I read.
Second pass:
I’m looking at chapters and page numbers and beginning to put together the crucial information for the Editorial Letter. This 12+ page document covers all areas of the developmental edit and provides thoughts, suggestions, comments, and opinions on what the author can consider doing once they receive my feedback. This pass can take two to three times longer than the first pass because pages are being read multiple times.
Plot:
Timing, direction, and logic. Is the plot moving forward, and are the pieces of the puzzle coming together? Is the sequencing of the plot logical? Is the ordering serving the plot, or could alternative orderings be considered?
Conflict:
Internal and external conflict. What’s standing in the character’s way and preventing them from achieving their goals? Is the solution something of their own doing? Can the stakes be raised without going overboard?
Setting:
The setting can be a character in its own right. Are the settings well-developed, suitable for the action happening, and presented with enough information to engage the reader but not overwhelm them? I look at how much time is spent in locations and how time is dealt with between locations and scenes. Is the setting serving the story? Is the world-building balanced?
Character:
Are they presenting as humans (or beings) that the reader can connect with, relate to, or see elements of themselves in? Do they have distinct voices, and are their characters clear from what they say, think, or how they act? A key concern: Are the character goals, motivations, and conflict (GMC) present and dealt with to a satisfying level? Are we invested in the characters, and do we see them making steps towards where they need to go?
Pacing:
Thrillers move at breakneck speed, and romance moves slowly. Often, this is the case, but not necessarily all the time. Part of analysing the pacing involves checking whether there is balance and variety throughout the manuscript to keep the reader engaged.
Dialogue:
Is the dialogue exposing necessary information, conveying the GMC of the characters, or moving the story forward? If not, I will suggest rephrasing, omitting, or considering why it is there.
The bulk of the feedback stems from those areas, but that’s not everything. Point of view, believability, theme/premise, style, and word choice are also considered. Finally, spelling, punctuation, and grammar are commented on when recurring issues present themselves.
For me, the story synopsis and author goals help formulate the direction to take and how to provide suggestions to help you get there. My certificates and courses from UCLA Extension, Club Ed, the EFA, and the CIEP have all provided valuable support and structure for me in training to be a developmental editor and advocate for LGBTQ+ authors and fiction.
I hope this brief introduction to my role as a developmental editor has been illuminating, and should you wish to discuss anything raised, please do not hesitate to get in touch.
This is a short-turnaround reading service I offer, covering many areas of a developmental edit, but it is less invasive to the manuscript itself. I’ll have your manuscript and editorial letter back to you within three weeks, based on 60-80,000 words; if your manuscript is longer, no problem, but it’ll take me a touch longer to return it.
A chapter-by-chapter breakdown helps to identify the strengths and weaknesses in the manuscript. This shows what is working well based on genre expectations and your vision for the manuscript, while also ensuring that readers aren’t confused and that missed moments are strengthened for emotional impact.
Editorial letter
Each manuscript evaluation is returned with a full editorial letter, which serves as our main point of discussion and contains the majority of my notes. I may highlight some comments on the manuscript, but this service focuses on the big picture rather than line- or word-level issues.
What’s Covered:
Structure:
Overall logic, flow, and pace. I’ll consider genre conventions and consistency throughout the novel.
Sequencing of events. Timeline issues can throw a reader out of the story, and checking for issues early ensures a smooth reading experience.
Consistency of descriptions regarding characters and setting. The focus is on the main characters, but I’ll keep an eye on sidekicks and minor characters as well.
Story:
POV. Point of view is the perspective from which the story is told. It can have major implications if not handled well, and I’ll be looking for head-hopping and narrative distance to ensure they serve the story’s needs.
Character development. Here I’ll be looking for explicit and implicit references to goals, both external and internal motivations, and conflict, and how these work together to create a satisfying character arc.
Dialogue. Is the dialogue advancing the plot, revealing something about the characters, or providing critical details about the story world and backstory?
Identify plot holes and disjointed elements.
Is the content engaging? Here I often focus on emotional reactions and how characters reveal their personalities through their responses to story events.
Style:
Use of figurative and descriptive language. I’ll be looking at whether this serves the story’s needs and engages, rather than distracts, the reader.
Voice. Notoriously difficult to define, but when it shifts or the tone and mood change, it can leave the reader feeling lost.
Genre style conventions. I’ll consider things like chapter and manuscript length, alongside common tropes and archetypes, and highlight anything that successfully or unsuccessfully breaks genre barriers for romance and crime fiction.
Suggestions for improvement will be consolidated into 3–5 main areas, and you are free to ask further questions on any points you are unsure about.
This is a quick overview of what will be included in a manuscript evaluation. I primarily work with LGBTQIA+ characters and authors, and queer romance and queer crime fiction are my main areas of expertise. Outside of those genres, I might be able to help, or I can recommend an editor who may be a better fit.
Pricing information can be found on my website.
I can also provide Zoom coaching sessions if you’d like to discuss your project before or after the readthrough. Every author is unique, and each project requires a different level of intervention. I pride myself on being flexible, so drop me a line and we can talk more about your needs.
The end!
And now the fun begins—revisions! But where to start, and how to navigate the plethora of “editors” who pop up on social media and beyond?
Just so we are clear: generally, in traditional publishing, manuscripts go through a few stages of editing. Developmental editing (big-picture items) covers character arcs, settings, dialogue, pacing, resolutions, and other elements, along with overall structural issues. Then, after author revisions, a copy editor will focus on all the language-level issues: style, spelling, punctuation, grammar, and consistency across the manuscript. Finally, a proofreader, working from page proofs, will aim to clear up any remaining typos, formatting issues, and perform final checks.
Some indie authors go through all of these stages for each book, while others opt for one or two. Usually, the more rounds of editing a book has had, the cleaner it’s going to end up.
So, how to choose an editor? Here are three key areas to consider when getting started:
- Are they qualified to edit?
- Do they offer sample edits?
- What is it like working together?
Who are they?
A good place to start is being certain that the person offering you editing is, in fact, an editor.
Whilst there are no required qualifications for someone to open an editing business, there are some checks that authors can make to protect themselves.
Affiliation with an editing organisation such as the CIEP, the EFA, ACES, Editors Canada, the LGBTQ+ Editors Association, or others is not a guarantee, but it shows they have connections in the editing community.
Qualifications, certificates, and training are equally varied. The above bodies might provide some training, and there are also universities and other programmes. Editors should be happy to provide this information when requested.
A retired teacher, a wordy friend, or an English literature major are wonderful resources for beta reading and general feedback, but I’d be wary of someone relying solely on these—because they are not editing qualifications.
No decent editor will rush you into a decision, payment, or service that you didn’t ask for or don’t need. As with any online transaction, if you feel something is off during the process, pause, take a step back, and even run your concerns by a trusted friend. Sadly, there are too many people out there trying to rip others off.
A Sample Edit
Being a collaborative process, it is standard practice for an author to ask for a sample edit.
Be wary if your chosen editor refuses, but how they handle this will vary.
Some offer 1,000 words, a couple of chapters, or another length for free; others will ask for a payment, which is usually deducted from the total if a booking is made. Both are common and fair practices. Editors also have to protect their time and resources, but expectations should be crystal clear at the time of communication.
For a developmental edit, a sample edit is less common, as we typically need to see the full manuscript (and have read the whole story) before offering structural changes. However, I’ll always read a sample and provide some overview notes on the type of feedback I would offer—with the caveat that these ideas might change once I’ve read everything.
Again, take your time and review the feedback against your vision for the manuscript. Despite style guide standards, dictionaries, and common practices, every editor will edit differently. Some authors prefer deeper intervention than others. You want the edits to feel helpful and constructive, and to leave you feeling like you know where to go next. If the sample edit doesn’t meet your needs, don’t hesitate to thank the editor and move on. Good editors understand that not every author–editor pairing is the right fit.
(See point 1: don’t feel pressured to sign or pay for anything if you’re not 100% happy with the sample edit.)
Working Together: Their Process, What You Can Expect, Deliverables, Timelines, and a Contract
Always ask for a contract that outlines key information about the service when you book. Take note of how, when, and how clearly your potential editors communicate with you—this is an indicator of how the rest of the relationship will pan out.
Whilst respecting their time, time zones, and communication styles, you want to feel like it’s easy to ask them questions, get feedback and answers that you understand and find helpful, and trust that they can justify their responses with sources and references when appropriate.
It’s always worth remembering that editing is not paid beta reading. Editing is not about giving opinions. Each stage has different measures: a developmental editor is likely to reference craft books, while a copy editor or proofreader will refer to dictionaries and style guides.
If at any point in the process your editor option talks about musts, have-tos, or says, “I don’t like this,” without providing clear justification, references, or sourced material—beyond their own personal preferences—run for the hills! That’s paying someone for their opinions, and we all know we can get those for free online. That’s not editing.
Takeaways
Editing and publishing take time, so don’t rush into anything. Communication, questions, and fit are all equally important for both author and editor, so make sure you feel ready and prepared for the editing process. Also, communicate with your editor as early as you can, and be mindful of their time. Sometimes we can take last-minute jobs; other times, there might be a three-month (or longer) wait. Early is always best! Stick to your vision, and ensure your editor is supporting you in the process and justifying their edits.
Let’s talk manuscript evaluations for gay romance, queer crime fiction, and LGBTQIA+ historical fiction.
Don’t worry, it’s not some scary assessment against a rigid criteria, and there is no firm right or wrong. There are, of course, genre considerations: e.g. if you’re writing a gay romance, then we’d need some escalation of a relationship, and HEA and HFN are pretty key. In queer crime fiction, we’d need a crime, and likely we’ll be spending our time solving it!
The feedback you receive covers strengths, weaknesses, and suggestions. I’ll give as many options as might apply in accordance with what you are trying to achieve with the story.
Isn’t that all just subjective and just your opinion?
No, and yes. Editing, writing, and publishing are very subjective and down to personal tastes and preferences, but there are elements of a story rooted in craft.
I’ll always outline where I see a weakness in your manuscript, e.g.:
(1) A character’s reaction to a particular moment
(2) An emotional response during a pivotal scene
(3) A pacing issue
(4) A chapter cliffhanger
(5) The ending buildup
Then I’ll outline why it’s a problem within your manuscript
(1) It doesn’t feel like Bryan would react that way based on his fear of water on page 6.
(2) The language used for TJ and Fred’s breakup isn’t delivering as emotionally compelling as the meet-cute did in earlier chapters.
(3) Here is a key scene, and we can slow right down and experience the moment with Paul. Your readers are very invested at this point in seeing every detail!
(4) You’ve wrapped up the chapter well, but if you moved the final five lines, then you’d leave a sense of suspense, and the reader will be climbing over themselves to get to the next chapter.
(5) Richie finally admitting his feelings and asking Johnny to marry him would be more impactful if he refers back to his original goal and motivation.
And finally, concrete suggestions (which you are welcome to use, expand upon, or disagree with!)
(1) I’d suggest Bryan shows more hesitation before he jumps in to save TJ. He might attempt to turn away or stalls removing his shoes. Him overcoming his fear and showing the reader heightens the emotional payoff because we see how important TJ is to him.
(2) Let’s look again at what promises and commitments they made earlier on to each other. Fred shared that he had trust issues, and he can refer back to those when he finds that Albert still has Grindr on his phone. A few more lines of dialogue here can both shows how Fred has changed, or not, and allows us to explore Albert’s character, specifically whether he comes clean or tries to cover up what’s been going on.
(3) Describe how the glass feels in Paul’s hand before he throws it against the wall, such as the texture, temperature, and add a couple of lines to describe the shattering of the glass and the sound it makes as it slams into the wall and spreads across the floor. Using heightened imagery at these moments can be a sensory pleasure for the reader!
(4) Instead of showing Bradley approaching the pair he has caught kissing, move those lines to the next chapter with Bradley as the POV character, and we are left in suspense as to how he will react.
(5) Now that Richie has overcome his internal obstacles and can finally trust Johnny, and is in a place to stand on his own two feet with the negativity of his parents behind him, a motif could be used here to show he’s ready to throw away the past and move on with the next stage of his life.
I’m always learning to update and improve my editing skills, and I also keep a narrow focus on gay romance, crime, and historical fiction because I have the most experience in these genres, and this is where I can add value as an editor.
Feel free to send me an email! sam@sjkeir.com
Not sure if coaching is right for you?
Are you stuck for ideas or not sure how to connect the dots?
Are you getting halfway through a draft and running out of steam?
Do you have feedback, but you’re not sure where to go next?
Coaching is primarily about working on your current problem areas and writing issues to help you sketch out a path to reach your writing and publishing goals.
Guiding and teaching are key parts of my coaching philosophy, and I hope taking these next steps together sets you on the right course to figuring out your manuscript’s strengths and weaknesses, and most importantly—what you can do next.
Flexibility is key when we sit down together and work out what a good coaching plan would look like for you.
Prompt and Brainstorming Coaching
For early-stage authors, this focuses on working on your novel’s theme, character outlines, mapping out character goals, motivations, and conflicts, or talking through the major plot beats.
Another option is a guided step-by-step approach, using prompts provided free on my website, for emerging romance authors writing queer fiction and LGBTQIA+ characters.
I recommend booking sessions close together for the best results.
By focusing on six foundational areas of romance fiction writing, you will have a solid start to move forward with your story ideas.
Editorial report available for an additional fee.
Generative Coaching
If you have completed 50% of your manuscript or have 50% remaining, this tier will support your next steps.
You’ll be aiming to have a completed rough draft written by the end of the six sessions.
We can focus on brainstorming, character analysis, or if you’re stumped by the dreaded writer’s block, some targeted feedback should help you to overcome that hump.
I recommend booking sessions over a 3-month period to allow time to write and revise your manuscript.
Editorial report available for an additional fee.
Revision Coaching
Full-manuscript evaluation with coaching sessions as required. We’ll work together on your completed rough draft, and you’ll have time to revise in between coaching sessions.
This service is best suited for authors who are confident in how to revise independently but want a regular check-in date to keep momentum going and to ensure they finish by the deadline they have set for themselves.
We can set goals and milestones to help you work through the entire novel-writing or revising process in 3–6 months.
Editorial report and feedback are integral to this tier, so let’s talk! Often, I’ll suggest we combine the coaching sessions with a manuscript evaluation that we complete as you write and revise, allowing the manuscript to get a developmental edit-style workthrough without the wait.
My editing focus is queer romance, crime, and mystery, so if you are writing in these genres, I’d love to talk to you and see how coaching could help finish and refine your remarkable book.
Style sheets have always been part of the deliverables I send back to clients. According to the CIEP, “A style sheet is also useful to other editorial professionals who see the text after you, such as a proofreader. If they have a query, they should be able to search your style sheet and find an answer.” Therefore, I see it as part of my professional duty to provide one for all editing work.
For copy editing, the style sheet serves an essential part of the editing process. For LGBTQ+ books, there are some additional considerations, so here are four reasons why I believe style sheets are important when working with indie authors on their queer books:
Consistency:
A very important one—consistent use of language, terminology, and identity labels (including pronouns) across a manuscript ensures each character is referred to correctly on every page. Using a style sheet ensures authors can check for any unintentional slips in how characters are portrayed, because when you are 70, 80, or 90,000 words into a story, it’s easy to make mistakes.
Accuracy:
Style sheets can help avoid harmful stereotypes, misconceptions, or misrepresentations because the process of creating the sheet ensures information is carefully fact-checked and recorded during the edit. Descriptions and labels for queer identities, histories, and communities can be nuanced and vary due to the diverse nature of people involved. A solid style sheet helps track these details and ensures the author’s facts are accurate.
Authenticity:
The author’s voice is always unique. Some authors mix Canadian, UK, and USA English conventions; some prefer a space before but not after an ellipsis; and others create magical worlds with their own naming conventions. The copy editor, using the style sheet, can ensure these details are tracked and mapped so that the reader gets the author’s intended voice. Readers love your books for your unique voice, so my job, as the copy editor, is to ensure you always sound like you from book to book.
Professionalism:
Copy editing is not just about checking spelling, punctuation, and grammar. The goal is to produce a book ready for proofreading and publication. Across a series, where places, characters, and timelines can change, it’s crucial that no details are missed. Providing a style sheet ensures consistency and helps you, the author, continue independently on your publishing journey. My role is to help set authors up for success, and offering a clear and useful style sheet is part of that process.
CIEP, “Fiction Style Sheets,” accessed (October, 2024), https://blog.ciep.uk/fiction-style-sheets/.
How could an authenticity reader help you?
I use the terms interchangeably here to keep things simple.
A sensitivity reader might help you improve the authentic representation of a marginalised character.
The key word here is might. The onus is always on the author to do their research, but a sensitivity reader may help you avoid some pitfalls, such as writing stereotypes, generalisations, or characters that lack authenticity.
A sensitivity reader is not a stamp of approval or a way to avoid scrutinising your work for bias and harmful ideas, as no one reader embodies an entire group. However, they can help authors consider language and viewpoints they might not have encountered or experienced before.
People want their communities—whether they are gay men, Black women, fat men, trans people, disabled women, non-binary individuals, or others—to be represented fairly on the page.
The ideas people take from literature (yes, even fiction) shape how those individuals are treated in real life.
A good sensitivity reader will not censor, prevent, or change your words. Instead, they may challenge you to do further research, encourage you to connect with members of the group you’re writing about, and support you in creating more accurate and fair representations.
People are busy, so if you engage a sensitivity reader, be sure to compensate them fairly, as you would for any professional service.
Areas of authenticity and sensitivity reading I might be able to help you with: being a gay man, being a millennial, being an educator, being someone who has lived abroad for more ten years, being an active member in a LGBTQIA+ editing and writing group, being a published author, being someone with experience of alcohol and drug addiction, being someone with connections in the queer community, being someone who grew up under Section 28 (UK), and being someone who has experienced long-term queer romantic relationships.
Different types of readers, getting feedback, and what to do with it once you’ve received it
Alpha/Beta readers
Before getting into the juicy details, here are some quick definitions, as I understand them:
Alpha readers see your early manuscript drafts, while beta readers jump onboard after self-editing a number of times. As with many things in writing and editing, the definitions can vary between different people, so I’ll treat them as almost the same here because our article’s focus is how to handle feedback.
So, you’ve finished writing, and it’s time for another set of eyes.
Here are some important questions to ask readers before they get their hands on your work:
- Do they regularly read in your genre?
- Have they read similar books and similar authors?
- What type of feedback is your manuscript ready for?
- How would you prefer your feedback to be delivered (on the manuscript, in an attached note, etc.)?
As with any service, ensure you both are clear on your reader’s role and your own expectations to avoid disappointment.
And the most important one, in my opinion:
Are they your intended audience (age, language, location, etc.)?
Audience
Audience is such a vital consideration, so hopefully, you vet your readers carefully because nothing is more disappointing than feedback from people who aren’t your target reader.
For example, if you write MM fiction, you need someone who reads in that genre, ideally likes romance, and can consciously or unconsciously make connections between your story and others they have read before. Someone who hates romance? Not going to be a great beta reader!
A simple survey about similar books they have read or their favourite author within the same genre might help you gauge if they are a good fit for your book. I’d advise giving a deadline to return your manuscript; this means you can stick to your editing and publishing schedule without delays.
I’d also advise against asking family and friends (unless they agree to be critical, honest, and well-read in your genre!) because they are always going to view your work with you in mind, and you don’t want that. As much as it’s nice to get all positive reviews, the best way to learn is to get feedback from someone who has zero emotional investment in you or your writing.
There is a hot debate online about whether betas should be paid or not. I’ll leave that up to you and your financial situation/beliefs. A benefit of paid readers is they might take the task more seriously and also complete it in a more reasonable time frame. This is not to say unpaid beta readers are slow or do not complete in a timely fashion, but both sides can view it as a professional service—and you get what you pay for, in my opinion. A free alternative is to swap books with a similar author if any sort of financial transaction is out of your reach.
Beta and ARC readers are not the same.
ARC readers take on a free version of your book (when the manuscript is 99% complete) and agree to leave a review or other feedback on a specified date (usually your release date). I say 99% because ARC readers often spot and give feedback on typos or minor line editing issues. If your beta or ARC reader finds such issues, thank them profusely because they have saved you from a paying customer finding them!
Beta (and Alpha) readers might respond in a number of ways: a brief ending comment, some notes in the manuscript, or even a longer breakdown based on what they think. As every book is different, so is every beta reader. I’ll say it again: agree on expectations beforehand; then neither of you will be disappointed.
Take some time—ideally a couple of days or a week—after you acknowledge the beta reader sending back your manuscript. You can say thank you and send any gifts or agreed-upon gestures straight away. They’ve given you their time, so at the very least, say thanks!
Read through the feedback and note down (on a different page or an additional copy of the manuscript) any ideas, suggestions, or criticisms that you agree with.
Some comments might have you scratching your head because they don’t seem ‘wrong’ to you, but a reader has said they didn’t like a particular line, a character, a scene placement, the ending, the beginning—the list really is endless on what the beta reader might focus on.
Two comments might say opposing things about the SAME line! This happens more than you think. One person’s trash is another person’s treasure! I deal with this by trying to find a third opinion. With a triangulation approach, you wait until three readers give their views on an issue before taking any action. If three readers have a problem with your pacing, it might be worth a closer look.
You need to work through what is purely subjective opinion and what might merit closer analysis.
Also, look at the wording of the feedback closely. Does it state WHY they didn’t like the language or another aspect of the story? The word ‘because’ can be helpful here. If they said, “I didn’t like it because I don’t like adverbs,” then it’s a straight-up opinion. But if they said, “I didn’t like this because Frank would never act like that—he said he loved cats on page one, and now he is cowering in the corner from the neighbour’s cat,” this type of comment might be worth looking at again.
Someone says they LOVE an aspect of your story.
Kudos to you. If you’ve generated an emotional reaction (love, fear, hate, surprise, etc.), then you’ve connected emotionally with your reader, and that’s what it’s all about. You might consider saving the line/scene for future marketing efforts.
Someone says they find this offensive/negative/they HATE it!
Try not to take it to heart. Remember, the feedback is about the story, the characters, the manuscript—not about you! You can carefully consider if this is a personal bias on the reader’s part or if getting a sensitivity/authenticity reader to take a look would be a smart move.
Language level comments
can be tricky to handle. Some readers like the verbose style of Proust, and some prefer Barth. They are simply two styles and two readers with preferences.
Are they making technical comments that improve the flow, or is it simply their opinion based on taste? Often, it will be personal preference, and then you have to return to your own vision and make an executive decision. Do keep that feedback tally going and notice if multiple readers are picking up on the same cases of passive voice, clunky sentences, or overused filter and filler words.
How is an editor’s feedback different from a beta reader’s?
Editing is different because it takes a more systematic approach to issues and errors on the page. Editors also work hard to offer practical and actionable steps to take with your writing, whereas a beta reader is under no pressure to explain how you should fix issues—that is the job of an editor. Ideally, your editor can point out more than one option as a solution; this provides you with more choices for any identified problems.
I’m a gay MM and LGBTQ+ character fiction editor. What does that mean? It means I can identify with many (though not all) aspects of the lives of the gay men on the page. As a history graduate, I’m also keen to research and add a layer of authenticity to any characters from the LGBTQ+ community. I will also consult with colleagues from the LGBTQ+ Editors Association on areas outside my lived experience because I think it’s worth the time and energy to get it right! UCLA, CIEP, Club Ed, and EFA training means I am working my socks off to understand every angle there is within fiction editing. I’m as invested in this as you are!
I might not be the editor for you if you simply want spelling, punctuation, and grammar checks because I also dig deeper into filter words and dull vocabulary. These jump off the page at me, and I’ve found authors appreciate their weasel words and jaded phrases being pointed out. Adjectives (big, large, and small) are all overused when something more visual would be a stronger choice.
My aim is to help authors improve as writers alongside helping them fine-tune and produce remarkable books! I hope my rambles on readers and editors have given you some new insights on how to handle feedback. Feel free to get in touch to discuss all things writing and LGBTQ+.
Community is everything!
We have all seen the damage a person on a crusade can do. The instigators seek to divide, cause drama, and aim to make members of a community turn against each other. Thankfully, it usually has the opposite effect.
Recent events made me reflect on what is important to me within my editing business and pushed me to consider my reasons for wanting to edit in the first place. Queer representation for me, growing up under Section 28 in the UK, was limited to basically nothing. There were no groups to turn to, friendly faces to support my writing, or colleagues who understood the trials and troubles of being a queer-owned business. Certainly very few books to access in the school library. It got me thinking about what I offer as an editor and how much has been offered and shared with me since I started out. I hope my experiences can inspire others to seek their own community and find their people – they are out there!
Face-to-face writing groups.
I started one during the pandemic and it has provided new friends, a space to share writing, and a valuable social network within my community. If your town, city, or wider area has one – I’d highly recommend joining. Usually, they follow a fixed structure where you submit your pieces before the meeting, and this allows everyone to read, and prepare comments and critique ideas about the writing. A well-run group focuses on the writing and not the people, doesn’t allow personal attacks, and insists on constructive advice for the writers. I’ve made some great friends from the one I started locally.
Online meetings.
These can be great because you don’t even have to put on any shoes! One example is the Queer Romance group I’ll be running with Dayna in January. We hope this informal group will be a safe space where we can discuss short prompts and write together and then discuss the writing we produce. Over six weeks, we have topics to cover the basics of putting together a short story and hopefully a future novel! Character, dialogue, setting/world-building, conflict, sexy scenes, and deep emotions are on the agenda. I’m sure there are groups out there for your particular genre and time zone. I’m confident for every genre, stage of writing, niche interest that there is a group out there, and if not; start one! You’ll find people who love exactly what you love.
Facebook groups.
So many great groups out there for writing, editing, book promo, book covers, newsletters, etc. You name it—there is probably a group. If not, why not start one in the niche/genre/trope you love? Bringing together and creating a community around the book bits you love is a special kind of reward. Some of the best groups are the smaller ones where you can engage without too much promo activity. Ask questions, help answer questions, and show up as your genuine self. There is no harm in being new or unsure of something because someone has done it before and will probably be happy to supply the answer you need.
My writing and editing journey to date would not have been possible without the vast range of folks I’ve met on FB, LinkedIn, and through the LGBTQ+ Editors Association. These people have welcomed me in, and I hope to do the same for you
Who doesn’t love a queer main character?
Whether they are gay, lesbian, bisexual, transgender, asexual, genderfluid, genderqueer, nonbinary, queer, or otherwise, there is room for them to take the lead in queer crime fiction, whether you are writing a mystery, thriller, or cosy.
But it can be easy for authors, including me, to make missteps when writing an identity outside of our own lived experience. Let’s have a look at some examples of how it can go wrong when writing queer crime fiction (and any fiction!), and see what steps can be taken to prevent misrepresentation or harmful tropes.
Sometimes, a character’s sexuality or the tropes associated with an identity become harmful because the behaviour or actions are based on a narrow or limited understanding of the group.
For example:
- Gay men who are excessively flamboyant or who play the sole role of the magical gay best friend.
- Lesbians who are portrayed as predatory, man-hating, tragic, or the token butch lesbian.
- Trans characters or genderqueer individuals whose sole purpose in the story is to add representation, with the focus on experimentation or a phase they are going through.
Characters presented as villainous, manipulative, or deceptive because of their sexuality or identity can also be problematic, as this conflates and supports negative portrayals. This can manifest as sexually deviant villains who are hypersexualised, untrustworthy, or morally ambiguous, leading to the conflation of sexuality with a lack of control or a pathological notion that it is something harmful to society.
This might seem like a stretch, but it wasn’t so long ago that stories made up about queer people were used to deny them rights, subject them to medical and psychological experiments, or deny them basic human rights. (And it still continues today…)
Some common and overdone tropes in queer fiction include characters who are troubled in stereotypical ways, such as parents rejecting them, bullying, or issues with alcohol and substance use. While these themes can have a place in crime fiction, where darker themes are often explored, it is essential to ensure balance across all characters, so queer characters are not given all the heartache and negativity.
Queer parents are great, and varied family dynamics should be represented. However, avoid depicting them always in conflict, struggling with self-acceptance, or having issues with their children at school. These are all valid character traits, but we must ensure we are not defaulting to negatives, as that’s often how the media shapes our perceptions.
Using coming out as the entire plot can also be troublesome, as it focuses everything on a “correct” or “right” way to exist and demands conformity in how queer people come out, portraying it as a negative and always a struggle, which it is not.
Moreover, depicting characters as needing help or reassurance from cisgender or heterosexual characters, where their agency is removed and they are saved or act as foils to highlight another character’s greatness, is problematic.
The “bury your gays” trope means either one half of a queer couple dies near the end, and the resulting shock is used to explain why the surviving half finds love with a heterosexual new partner. This trope also encompasses a disproportionate number of queer characters dying in the story. In crime fiction, this burden is often carried by Black, trans characters or those portrayed as sex workers or otherwise disposable.
One identity or sexuality representing the entire queer community is sometimes seen in crime fiction, where a token character bears all the troubles of the LGBTQIA+ community and is solely responsible for carrying a straight character’s arc in a supporting role.
Ideally, this shouldn’t be an issue in queer crime fiction, but writers should be aware of trauma dumping and recognise that many queer individuals are safe, secure, and happy in their sexuality and identity from day one. Not all queer characters need to come out, and many have accepting families and great friends, so it’s worth checking how negative aspects are distributed.
Of course, all these elements can affect queer characters, but they should be conscious decisions and not shortcuts to adding trauma or flaws to a character. Every writer (including myself) should examine their biases and seek feedback and assistance from authenticity and sensitivity readers where possible.
Crime fiction, by its nature, delves into many of the darker aspects of the human psyche and the deplorable acts humans commit. However, it’s worth taking a hard look at all characters to ensure they are well-rounded and not presenting negative stereotypes or flimsy tropes.
If something has become a trope or is known as a stereotype, then it means readers are familiar with it, and it is up to us to challenge that and give them something new.
Let’s look at some examples done well:
Adam Tyler
Book Series: Nighthawking by Russ Thomas
DS Adam Tyler and his team have many questions to answer: Who is the victim? Who killed her and hid her body? And who dug her up?
Tyler’s investigation draws him into the secretive world of nighthawkers—treasure hunters who operate under cover of darkness, seeking the lost and valuable and willing to kill to keep what they find.
What’s Done Well: He’s openly gay, but it’s not the main focus of his character. Identity and relationships play a part in his goals and motivations, but they are seamlessly integrated, and he has a range of internal and external struggles.
Roxane Weary
Book Series: The Roxane Weary Series by Kristen Lepionka
Reeling from the recent death of her cop father, Roxane finds herself drawn to the story of Sarah’s vanishing act, especially when she thinks she has linked Sarah’s disappearance to one of her father’s unsolved murder cases involving another teen girl. Despite her self-destructive tendencies, Roxane starts to hope that maybe she can save Brad’s life and her own.
What’s Done Well: Being bisexual does not define the character, and she has a host of other issues to contend with, both romantically and in other aspects of her life. Trauma does play a part in her character arc, but it’s handled well and not used to garner sympathy.
Aslan Doyle and Quaid Valor
Book Series: Valor and Doyle by Nicky James
Aslan is Quaid’s opposite in every way. He’s bold, outspoken, arrogant, and the office playboy. Much to Quaid’s chagrin, Aslan seems to have set his sights on him as his next conquest.
Quaid doesn’t have time to deal with Aslan’s flirty behaviour while trying to solve a case and juggle his cheating ex’s incessant interruptions.
It doesn’t matter how attractive Aslan is or the undeniable chemistry they seem to have; getting involved with him would be a huge mistake.
As you can see, each protagonist here has clear goals, motivations, and conflicts (GMC). Their sexuality and identity are key parts of who they are, but they are not the driving forces of the plot or the whole novel.
What’s Done Well: Both characters’ sexualities are front and centre, but what Nicky James does so well is delve into their backgrounds and explore how and why they act the way they do. Knowing the characters well and getting to know them beyond their sexualities means their banter is realistic, their chemistry is hot, and readers are invested for the entire ride.
How to ensure your queer characters are balanced in your crime fiction writing
Integrate queerness as part of, and not a defining feature of, your characters. For me, this is really the number one “rule”. Aiming for well-rounded and fleshed-out characters with their own goals, motivations, and conflicts (besides being queer!) is a way to ensure they ring true.
Not all queer (or crime) fiction has to be dark. Cozy stories, capers, and odd duos can take place on the page. Personally, I do write quite dark!
If prejudice, slurs, homophobia, transphobia, etc., are part of the narrative, a good rule is to have someone at least address it. This feels more natural and also reflects the reality of being queer. Silence and normalisation in fiction can be harmful. People may disagree on this, but I believe slurs and bad language do have a place in fiction; however, I’d always like to see it acknowledged in some way by other characters to avoid it becoming normalised.
Queer experiences can be a catalyst for change, but care should be taken that coming out, hiding their sexuality, or some other grand reveal is not a pivotal plot point.
Queer characters can—and should—have life troubles that aren’t necessarily related to their sexuality or gender expression. They can also experience sleepless nights due to their children, care for a sick relative, or be so excited to meet their partner after work that they overlook a vital clue.
Aim for well-rounded characters with a variety of skills, flaws, and emotional depths. Reflect life’s very real challenges for queer people, but also celebrate the joys, triumphs, and good moments.
Research and invest in your queer characters. Authenticity reading is always an option, and both of these books are great resources for rounding out those characters:
Writing an Identity Not Your Own: A Guide for Creative Writers
Let’s put those tired tropes to sleep and give protagonists a range of new and interesting obstacles to overcome.
I love queer romance, and one of the guarantees made to readers of this genre is that the ending will be either a) happily ever after (HEA) or b) happily for now (HFN).
So, whether you are writing gay fiction, queer romance, or straight couplings, I’d be very careful about presenting your work as (big “R”) Romance if you don’t have a HEA or HFN!
Literary fiction or (small “r”) romance, where the romantic couplings are not the main plot (such as a queer historical fiction story where there is a romance but one of the characters is tragically killed, or an LGBTQIA+ crime story where there is a relationship on page but it’s not the main plot), are on the other end of the romantic spectrum. In these cases, the reader will enjoy the romantic goings-on, but you aren’t beholden to writing a HEA or HFN.
Understanding what type of romance you are writing is an important first step because genre considerations are something your editor will be looking out for during early manuscript reviews.
Once you are sure you are writing a romance, and you want everything to end well for the characters, let’s look at how your characters are going to get there.
The Buildup
Everything in romance is about the buildup. We know they are going to get together, but how they get there is where the magic happens. You don’t want to make it too easy for your characters in the beginning, and nothing is as unsatisfying as a quick and easy match and then the rest of the story is about them settling down. Characters who get together too easily can be dull for readers, but like many things in fiction, there aren’t fixed rules, so carefully consider how tension is affected by when they get together. There is nothing wrong with this type of story, but I’d always suggest throwing a few more barriers and obstacles in the way of your characters, and these struggles are what will draw your reader into loving your story.
Queer characters can face a huge range of struggles specific to being queer, including family and societal expectations, workplace discrimination, homophobia, transphobia, and other forms of discrimination, lack of support from friends or community, and cultural or religious barriers. These challenges can all play a part, but it’s best not to make their sole struggles about their sexuality and identity, as that doesn’t fully reflect real life.
We like to see how different characters face obstacles, because either we’ve shared a similar situation, or we are fascinated by the wide range of possibilities that come with human couplings. Taking those couplings through a multitude of ordeals will make the end payoff even sweeter because they have really had to fight to get there.
Internal Goals, Character Traits, and How They Intersect
For the most gripping romance, you want to aim for internal (and external) goals that bring the characters into conflict. This often comes about when they have dreams, wishes, and personality traits that clash. If you have one macho, aggressive character, then a good pairing option is someone who is quiet, methodical, and likes to think things through before they act. In queer romantic couples, opposites really do attract! The tension that stems from their conflicting internal struggles can then be rectified by reflecting on and digging into their own psyches and backgrounds to find answers to move them forward to a HEA or HFN resolution. As change is a key part of a rounded character in fiction, drawing on the strengths and weaknesses of the other character is really a solid plan of action.
Reserved vs adventurous, introverted vs extroverted, idealist vs realist, messy vs neat, caregiver vs independent, optimist vs pessimist, spontaneous vs planner, strong-willed vs easygoing, traditional vs progressive, and workaholic vs relaxed. The list is really endless!
All these traits allow each character to learn to trust, show emotional vulnerability, and find balance between their past and their future selves.
Third-Act Breakup: Expected or Too Predictable?
This is a common and well-known aspect of the romance genre, but many readers don’t like it! Sometimes this type of separation can feel forced, or the author doesn’t relate the separation clearly to internal goals, where the characters are in their arc, or the external reasons feel forced upon the character rather than developing from their original motivations and goals.
Alternative options might be conflict without separation, such as work troubles or a shared challenge they can face together while having minor disagreements. This can maintain tension and pace without forcing them to be apart. Scrapping it altogether, and focusing on healthy relationship dynamics and external struggles (e.g., family members, job woes) can be a surprise for readers, and might feel like a more natural way to end the story. Great romance usually involves some form of change from both characters, and another option in the third act is to continue one of the character’s individual struggles and journeys. It’s more realistic because couples don’t always wrap things up at the same moment. A final option is a “make or break” moment where the couple almost ends things when they come under too much pressure, which for queer characters could be a marriage proposal, enforced coming out, or discussions about children.
A Couple of Additional Points to Consider for Queer HEAs:
Marriage Isn’t Always the End Goal or Result for HEA
Marriage, for many, can be a blessing, and it’s common for an epilogue to cover the wedding day celebrations. This doesn’t have to be the case, and isn’t always possible depending on the country, culture, or identities within the story.
Queer couples can be happy living together and focusing on their relationship without the external aspects of legal unions, marriages, or even living together. Really knowing and understanding the characters and what works for them is the best way to work towards a satisfying solution for all.
HEA Can Mean Characters Are Still in the Closet
This might be a controversial view, but safety, family dynamics, and culture all play a large part in queer characters’ lives, and that might be the best option for those characters. This sadly still reflects the reality for many people around the world, and they are valid experiences to show in romance fiction. The focus of the happy couple, despite the challenges they still face, can provide readers with realistic portrayals of queer couples where they have each other, even if they lack support from family, friends, or society as a whole.
To Avoid: Queer characters shouldn’t be slotted into traditional male/female character roles because this can lead to misrepresentation and feel like lazy writing.
This stems from following a pattern that’s too formulaic, so don’t be afraid to take risks with queer romance, and consider when and how you might take up the services of a queer authenticity reader to help guide you in creating authentic, dynamic, and accurate queer romance couplings.
Here are some examples of great Queer HEAs!
Heartwaves by Anita Kelly
Following her mentor’s sudden death, Mae Kellerman channels her grief into something beautiful: a death party and casting ceremony by the Oregon coast he loved. She’s also determined to open a queer bookstore in the perfect empty storefront with her inheritance…if only its irritating (and cute) owner Dell McCleary trusted her enough to part with it.
A Boy Called Rainbow by Robin Knight
Art evaluator Miles Tate is finally about to start living his dream… that is if he can get the funding in place to open his own art gallery in New York. But when an unexpected turn of events finds every one of Miles’ perfectly-planned dreams turned upside-down, it’s time to escape Manhattan and reluctantly take up a well-paid job in the tiny seaside town of Hope’s Bluff, Georgia. For Miles, it’s his only chance to make some money, claw back what little dignity he has left, and figure out what the hell to do with his life.
A Milky Way Home by Hsinju Chen
Burned out by his Seattle tech job, Yen-Chen Chang quits and visits small town Clover Hill in search of self-discovery. But a meet-cute with pianist Florence Hong-Lam Ho—and her adorable shih tzu mix Milk Puff—makes him wonder if he’s found more than just a vacation spot.
The Gravity Between Us by Kristen Zimmer
Where does friendship stop and love begin?
At just 19, Kendall Bettencourt is Hollywood’s hottest young starlet, with the world at her feet – but behind the glamour and designer dresses is a girl who longs for normal.
Payton Taylor is Kendall’s best friend since childhood, and the one person who reminds her of who she really is – her refuge from the craziness of celebrity life.
Sunset Springs by Kacen Callender
Charlie isn’t thrilled about returning to his hometown in his late twenties. But he soon discovers that he’s not the only one back home. A chance encounter with his former classmate Jackson quickly turns romantic and leaves Charlie questioning what he wants the future to look like.
As an MM fiction editor, I can help you with a line and copy edit once you have your main structure down. For queer romance coaching, I can offer a more tailored approach and assist you at the brainstorming or revision stages.
The novel editing services I offer all come with an eye on LGBTQ+ character issues. Where I don’t know the answer, I can seek help from colleagues at the LGBTQ+ Editors Association.
(This article contains language that some might find harmful. Please take care).
Many moons ago, I completed my undergraduate degree in history. I was always attracted to historical eras and periods, and especially those centred on the lives of ordinary people as highlighted in E.P. Thompson’s History From Below.
This love for people and character has bled into my fiction editing work, and I’m always trying to figure out how to make historical fiction accurate to the time period but also sensitive to those individuals and groups that are alive today.
Let’s define historical fiction:
Historical fiction is, shockingly, a tad hard to define and is described differently by various sources. The Historical Novel Society says: “To be deemed historical (in our sense), a novel must have been written at least fifty years after the events described, or written by someone who was not alive at the time of those events, and therefore approaches them only by research,” so this broadens the scope based on the age of the author.
Vintage fiction is also not clearly defined, but the 80s and 90s (and soon the 00s) will fall into this category. We’ll all be vintage before we know it! They are really just labels, as with genre, to help organise and sort books for marketing, libraries, and catalogues, so I wouldn’t get too hung up on the labels. One person’s vintage might be another person’s historical! It’s always worth doing some research into comparison titles, time periods, and seeing how publishers and libraries are categorising their books.
https://historicalnovelsociety.org/defining-the-genre-2/
Here are five things to consider when writing gay characters in historical fiction. This article will primarily focus on gay characters here (gay men and lesbians), and this is not to exclude any sexualities or identities, but I’d like to keep things manageable and focused.
Trans, Bisexual, Queer, Genderqueer, Asexual, and Intersex, polyamorous characters will also have their own unique history, language, and historical considerations.
A lot of what I talk about here refers to a narrow field of gay couplings and information based on what I’m able to access and my own experiences. There are many considerations to take into account, such as race, ethnicity, socio-economic status, religious background, country, specific cities and towns within said country, and historical fiction is one of those genres where your reader will appreciate you getting these details right.
One of the joys of writing gay historical fiction is getting location and setting details right. If you choose a location in Canada, England, or Thailand, there will be details to check at every stage.
Broadly, I’m talking about the USA and UK here, but there would have been distinct regional and national variations based on local political affiliations, and the makeup of the populations.
Ensure you don’t include details (anachronisms) that didn’t exist at the time. For example, with buildings, you can check details such as when a bathhouse was built in real life, whether a particular queer publication has always been housed in the same building, and when that building was constructed. Ask yourself: Would the landmark a character references in passing have been built at that point in time?
You might also consider what electronic equipment was available or not.
- First streetlights: 1878 in London
- First pager: 1949 in New York
- First mobile phone: Growing in popularity in the late 90s and 00s, but different makes and models would need to be checked.
Gay and Lesbian Meet Cutes
With many restrictions on simply existing, it’s not really a surprise that gay men and lesbians had to find ways to communicate, meet safely, and continue relationships out of harm’s way.
With their lives criminalised, it’s not surprising that gay and lesbian people had to find alternative places to meet and live their lives out of the public eye.
Bathhouses and public facilities were, and still are, popular places for queer people to meet.
Gay bars: famous examples include Stonewall and Vauxhall Tavern, UK, but there would have been other bars that existed less publicly or had sympathetic owners. They often faced constant threats from police raids, shutdowns, or attacks by homophobic individuals.
Signs and signals existed for gay men, such as handkerchiefs with colour codes. Earlier examples include red neckties, green carnations, or violet flowers in the hair, which could serve as a signal from a lesbian in Paris.
The language used for characters and by characters also can play a part in creating an authentic setting.
Gay or homosexual wasn’t a term until 1869. 1924 saw the use of the term ‘homophile,’ applied to both gay men and lesbians during the 50s and 60s.
Gay means happy/jolly until the 1960s. Still used as a pejorative, “that’s so gay.”
Lesbian: 18th century ‘lesbian’ and ‘sapphic’ became more common. Lesbian was first used in 1559, according to Merriam-Webster’s Dictionary.
LGBT shows wider use of the term in the 1980s. Stonewall is often acknowledged as one of the beginning movements for queer rights in Greenwich Village, New York, June 27, 1969.
Pride: According to the Library of Congress, on June 28, 1970, the one-year anniversary of the Stonewall Uprising, the first Pride marches were held in New York, Los Angeles, and Chicago.
Word Choices
Queer has a dark history for many because of associations with violent bullying, and La Trobe University states: “Queer is a word of uncertain origin that had entered the English language by the early 16th century, when it was primarily used to mean strange, odd, peculiar, or eccentric.”
By the late 19th century, it was being used colloquially to refer to same-sex attracted men. Queer has fast become a reclaimed expression for many people and is widely used by many to self-identify as being ‘not straight’ and non-heterosexual or noncisgendered.
Slurs
Queer, faggot, poof, dyke, and other slurs are just a few examples of how language can be used to hurt others.
Pervert was a common phrase. Deviant, evil, and other slurs were used to marginalise and portray gay relationships in a negative way. Choosing what language to include is a key area to consider for the tone of your writing.
Sometimes writers think that to reflect the times accurately, they need to provide 100% accuracy, and language considerations come up. Should you include the racist and anti-LGBTQIA+ language that might have been present at the time?
It’s a tricky question and one that’s up to the author to carefully consider.
On one hand, characters might express sentiments that are out of step with modern readers, and the risk is that they will be turned off.
One way is to have another character acknowledge that the language is problematic.
If using slurs, racist language, or targeted language for shock value or as a shortcut to raise tension and conflict, it’s worth considering if there is another way to achieve the same goal.
My role when editing and offering authenticity reading is not to police the language used but to work with the author to assess whether it serves the story. As part of my editing services, I keep a lookout for problematic language whether in a contemporary or historical setting.
Homosexuality was and still is criminalised in many countries, and this would have implications for how out and open characters would have been at the time. Below is a brief overview of English-speaking countries. There will be considerable variation across Europe, Asia, Africa, and South America. Make sure to check key laws such as the legalisation and decriminalisation of same-sex sexual activity, ages of consent, marriage equality, adoption rights, property rights, workplace discrimination, housing rights, and other aspects of gay identities that have been or are criminalised.
USA: In 1962, beginning with Illinois, states began to decriminalise same-sex sexual activity, and in 2003, through Lawrence v. Texas, all remaining laws against same-sex sexual activity were invalidated.
Canada: 1969. Same-sex sexual activity was decriminalised in Canada as a result of legislation (Bill C-150) introduced in 1967 and passed in 1969 by then-Justice Minister and Attorney General of Canada, Pierre Trudeau (who later became the 15th prime minister of Canada).
UK: In 1967, the Sexual Offences Act was passed, which decriminalised private homosexual acts between men aged over 21, while at the same time imposing heavier penalties on street offences. The law was not changed for Scotland until 1980, or for Northern Ireland until 1982.
Australia: 1994. In 1994, the Commonwealth passed the Human Rights (Sexual Conduct) Act 1994, section four of which legalised sexual activity between consenting adults (in private) throughout Australia. It was not until 1997, however, that the law in Tasmania prohibiting gay male sexual conduct was repealed.
Being gay or queer was considered a mental illness and criminalised in many countries. 1973 saw homosexuality removed from the DSM (Diagnostic and Statistical Manual of Mental Disorders) as a listed mental disorder (USA).
Taking these dates into account, it is unlikely characters would be publicly ‘out,’ especially if laws existed.
At the time of writing, it is illegal in 64 countries (2/3 of these for women), with punishments based on colonial arrangements leading to corporal punishments and death.
Take, for example, Section 28, a law in the UK from 1998 to 2003. The legistation banned the promotion of homosexuality and positive portrayals of homosexuality in educational materials, meaning that teachers were not allowed to teach pupils about LGBTQ+ identities or same-sex relationships. It had a detrimental impact on LGBTQ+ people in educational and public settings, contributing to discrimination and the development of stigma. In practical terms it often meant that teachers were unable to intervene when a child was being bullied for their perceived LGBTQ+ identity for fear of being in trouble for promoting it. https://www.manchesterpride.com/20-years-since-section-28
This would have a significant impact on the mood, activities, education, and feelings of well-being for queer characters in any story based in the above countries.
There has always been resistance because gay people have always existed. But it hasn’t always been possible or legal for gay people to organise themselves. As one of our basic needs is feeling safe, and we feel safe around people we trust and who share our values, it’s clear that organisations were pivotal in driving change.
The Machinists Society was one of the first; in more recent times, GLAAD, Stonewall, and Peter Tatchell’s charity have stood up for rights in the face of hostility and adversity.
For lesbians, “The Daughters of Bilitis (pronounced Bill-E-tis) were the first lesbian rights group in the United States, founded in San Francisco in 1955. The DOB began publishing The Ladder in 1956 becoming the first nationally distributed lesbian periodical in the United States.” https://guides.loc.gov/lgbtq-studies/before-stonewall/daughters-of-bilitis
A writer would need to carefully consider the society and the level of support available for queer characters. The presence of LGBTQIA+ charities and organisations as public bodies is relatively new.
Underground societies and groups would always have been there, but they might have gone by different names and had secret ways of operating.
Venues for meetings would have existed, from coffee shops to bathhouses, bars, private clubs, and official organisations. As I mentioned under setting, the locations chosen can be a great way to add historical accuracy and provide the context for how they move through the story.
We are stronger together, but be sure to check the dates and the level of formal organisation that existed for the time period you are writing.
What was considered proper and decent has changed a lot—or very little—depending on the location of your queer historical fiction.
It would have been very difficult for individuals to come out to parents, due to religious reasons, fear of repercussions, and shame. With little education and support for gay people, it created a climate of fear around them, forcing many into sham marriages, self-harm, and secret lives, often for their entire lives.
It would be rare to receive positive support, though not impossible; parents, friends, allies, and other networks would have existed.
Due to a lack of education, negative media stories, and propaganda instilling fear, it’s likely many gay men lived closeted and lonely lives.
Some people would have lived more open and bearable lives, depending on where they lived. Metropolitan cities, with the ability to be less visible, still posed a danger, and losing your job, home, or dignity was always a threat without legal protections.
Lavender couples or arrangements were common and still are in some countries and cultures where it’s deemed more acceptable to marry by arrangement to please parents or wider society. This could involve a gay man and a lesbian, or sometimes two couples forming a four-way arrangement.
As you can see, there are many areas to consider when putting together a gay historical romance, so let me help you on your journey.
Here are some queer historical fiction books you might like to check out:
The House of Doors by Tan Twan Eng
The year is 1921. Lesley Hamlyn and her husband, Robert, a lawyer and war veteran, are living at Cassowary House on the Straits Settlement of Penang. When “Willie” Somerset Maugham, a famed writer and old friend of Robert’s, arrives for an extended visit with his secretary Gerald, the pair threatens a rift that could alter more lives than one.
Maugham, one of the great novelists of his day, is beleaguered: Having long hidden his homosexuality, his unhappy and expensive marriage of convenience becomes unbearable after he loses his savings—and the freedom to travel with Gerald.
In Memoriam: A novel by Alice Winn
It’s 1914, and World War I is ceaselessly churning through thousands of young men on both sides of the fight. The violence of the front feels far away to Henry Gaunt, Sidney Ellwood, and the rest of their classmates, safely ensconced in their idyllic boarding school in the English countryside. News of the heroic deaths of their friends only makes the war more exciting.
Carmilla by Joseph Sheridan Le Fanu
In the remote Styrian countryside, young Laura’s peaceful existence is shattered when she encounters the enigmatic and beautiful Carmilla. As a bond between the two women forms, Laura is drawn into a nightmarish world of unsettling dreams, haunting shadows, and a sinister presence that refuses to let go.
Also:
- The Secret Lives of Country Gentlemen by KJ Charles
- Grow Up Rory Rafferty by Bruce Bishop
- Solomon’s Crown by Natasha Siegel
- Two Wings to Fly Away by Penny Mickelbury
- Nettleblack by Nat Reeve
- Outrageous!: The Story of Section 28 and Britain’s Battle for LGBT Education by Paul Baker
Some further resources for writing historical fiction:
- How to Write Lesbian and Gay Characters in Historical Fiction
- Emma Hinds’ Queer Historical Fiction
- https://carrieannebrownian.wordpress.com/2023/06/21/how-to-write-lesbian-and-gay-characters-in-historical-fiction/
Primary and secondary sources:
All good study comes from reviewing documents from the time (primary) and those written after the fact (secondary) because we learn a lot through hindsight (in theory). Primary sources are shaped by the bias, position, and background of the person writing them, as are secondary sources. Oftentimes, sources might contradict each other, and this can be a sign that characters, despite sharing a common quality (being gay), lived through very different experiences.
Let me know if you’d like to discuss your project at the early stage, when I can provide author coaching and manuscript evaluations to help move the project forward, or at the later stage, when copy and line editing come in.
“Sam gave balanced feedback, offering his opinion on the strengths and weaknesses of my story, as well as, great suggestions on strengthening those weaknesses—and building the tension. He was super professional and offered great communication throughout the process. I would highly recommend working with him.”
Kelex, Queer Fiction Author
“I hired Sam to complete a line edit of my M/M romance novel, and I’m overjoyed with the result.
He’s professional, thorough, and has a great attention to detail. I love that he challenged me to stretch myself and revisit a few scenes where I had rushed important moments – my story is stronger because of that advice.”
Kit Erikson, Gay Fiction Author
“I’m so happy I found Sam.
What a great job on my upcoming holiday release.
Thank you Sam! You’ll be hearing from me soon!”
Sam E. Kraemer, MM Fiction Author
Who have I worked with?
- Steve Cadell, The Sharehouse
- Leo Caide, Here is a Place
- Edisol Dotson, Take Two
- Nicky James, Paternal Instincts (Valor and Doyle Book 8)
- Kelex, Echo and the Homicidal Sea Panda.
- Nicky James, Reading Between the Lines (Shadowy Solutions Book 3).
- K.C. Adams, What We Have Lost.
- Nicky James, Symphony of Salvation (Timber Creek Academy).
- Kit Erikson, Better Than Sex (San Francisco Sex Gods Book 1).
- Sam E. Kraemer, Love By Numbers Series.
- Nicky James, Power of the Mind (Shadowy Solutions Book 2).
- Sam E. Kraemer, The Katydid Ranch Series.
- Bruce Bishop, Grow Up Rory Rafferty.
- Nicky James, Skeletons in the Closet (Shadowy Solutions Book 1).
- Nicky James, Promises are Forever.
- Sam E. Kraemer, Kiss Me Stupid.
- Jaclyn Osborn, Sent To A Fantasy World and Now All the Men Want Me: Volume 2.
- Nicky James, Everything I Didn't Know.
- Tess Carletta, Kit & Basie.
- Sophie Snow, The Rule of Three.
- Amelia Bishop, Taming the Fox.
- Gio Peters, Third Times A Charm.
- E.G. Shaida, Falling for Ezra Becker.
- Bruce Bishop, Undeniable Relations.
- Frankie Thompson, The Moon Also Rises.