The second draft survival guide: 10 tips on editing your novel

Completing the first draft of your novel is a major achievement to celebrate. You’re already in the top 3% (97% of people who start writing books and never finish). 

But the journey to a polished manuscript has only just begun. Now comes the editing and your next two to three drafts.

According to Deborah Levy, author of Hot Milk and The Cost of Living: "Editing is the most wonderful part of writing. It begins to roar in the edit." Embracing the editing process is crucial to transforming your initial draft into a compelling narrative that will grab the attention of literary agents and book editors.

These ten tips are ones I’ve always found helpful after that crucial first draft is done.

AI’s growing ability to write creatively like us

AI is no longer just generating dry, robotic text. It’s now writing compelling fiction. OpenAI’s latest model has demonstrated an ability to craft stories with depth, emotion, and narrative structure that rivals human creativity. CEO Sam Altman recently shared a short story generated by AI that was not just coherent but hauntingly resonant, sparking a wave of discussion about what this means for the future of literature.

Jeanette Winterson, a long-time advocate for technological innovation in storytelling, believes this shift is not something to fear but to embrace. She describes AI as “alternative intelligence”, suggesting that its ability to be other might be precisely what human writers need—pushing creative boundaries, offering new perspectives, and reimagining storytelling. 

The art of the campus novel – what makes them work, and which are the best?

Writing about Donna Tartt last week and The Secret History got me thinking about the campus novel.  

I’ve always been fascinated by this sub-literary genre, from what makes it work to why it continues to captivate readers and how it manages to be both intensely specific and universally resonant. 

The best campus novels transport us to a world of intellectual ambition, youthful recklessness, and, often, profound disillusionment. They capture a moment in life where identity, relationships, and ambition collide.

But what exactly makes a great campus novel, and which books best define the ever-growing genre? 

Crafting the perfect opening lines of a novel

Do you need a killer opening line for your novel? Or is there an alternative way to draw readers in right from the start? 

I'm slightly obsessed by the opening lines of novels, and for me, the opening line isn’t merely about crafting a flashy hook; it’s about setting the tone, sparking curiosity, and providing readers with a reason to keep turning the pages. A brilliant first sentence generates intrigue and anticipation, drawing the audience into your story before they even realise it.

A guide to reading Joan Didion – the five books you should start with

I’m a big fan of Joan Didion. I’ve read most of her published works, with her novel Play It As It Lays, Slouching Towards Bethlehem, and The Year of Magical Thinking among my favourites. What I’ve always appreciated about her writing is the precision and emotional depth she brings to her words. Few others come close. She possessed an unmatched ability to distil complex emotions and cultural shifts into sentences that feel both effortless and weighty.

Joan Didion's writing is a masterclass in precision and insight. Her distinctive style, marked by pared-down, rigorous prose, captured the nuances of American life and personal introspection. As a leading figure in the New Journalism movement of the 1960s, Didion's work blended literary flair with journalistic integrity, offering readers a profound lens through which to view the world.

Whatever happened to Donna Tartt?

I found a box of books in the attic yesterday, and a signed copy of Donna Tartt’s The Goldfinch was buried there. I added it to the bookshelf alongside a signed copy of The Little Friend.

I’m a massive fan of Donna Tartt, particularly (like many people) The Secret History, which I wrote about recently. It got me thinking—whatever happened to Donna Tartt?

It has been more than a decade since Tartt published her last novel, The Goldfinch (2013), which won the Pulitzer Prize and cemented her status as one of the most celebrated literary figures of our time. But since then? Silence.

Tartt has never been a prolific writer. She famously takes a decade (or more) between books, crafting intricate, deeply atmospheric novels that become instant modern classics. The Secret History (1992) and The Little Friend (2002) were each published with long gaps in between, setting a pattern of meticulous, slow-burn literary output. But now, more than ten years have passed since The Goldfinch, and there’s no official word on what comes next.

So, where is Donna Tartt? And why is the wait for her next novel taking even longer this time?

How to find your narrative voice: from first person to omniscient

Finding your narrative voice is one of the most important, and often most challenging, aspects of writing fiction.

It’s what makes your storytelling unique, setting the tone for your novel and shaping how readers connect with your characters.

However, voice is often confused with point of view (POV), the narrative perspective from which you choose to tell your story. First-person, third-person limited, or omniscient each has its strengths and challenges.

I have tried two approaches. First-person for modern fiction (both my published novels) and third-person limited for my long-paused historical novel. I am more comfortable telling a contemporary story with the former, although that style did not feel appropriate for a historical novel.

So, how do you choose the right one? And how do you develop a distinct voice within it? Let’s break it down.