Murder Your Darlings

The phrase "Murder your Darlings" is commonly attributed to Arthur Quiller-Couch, (and occasionally Stephen King) who used it in his 1914 Cambridge lectures, later published as On the Art of Writing. He was advising writers to cut any passage they are particularly fond of if it doesn't serve the work.

The core idea is that the passages a writer loves most are often the most dangerous: they tend to be self-indulgent, digressive, or written to show off rather than to serve the story. Affection for your own prose is precisely what makes you blind to its flaws. The "murder" framing is deliberately brutal because the attachment is real — cutting something you're proud of genuinely hurts!

Which brings me to some personal writing news. I have just received my latest work in progress back from my editor, and I’m working through her comments, and revising my story. Then I’ll send it back for a second edit and then proof reading before sending it out to the world.

I have always believed copy-editing and proofing are best left to the professionals. But I do my own developmental editing, before sending my book to some trusty first readers (beta readers) for feedback.

So, what exactly is developmental editing, and how can you tackle it on your own? In a nutshell, developmental editing is all about the big picture. It's not about fixing typos or polishing your prose (that comes later!), but rather about making sure your story is structurally sound, your characters are well-developed, and your pacing keeps readers turning those pages.

Here are my tips.

First, take a break from your book. I know, I know—you're excited to get your book out there. And I must confess, I find this hard too.  But trust me, taking a step back from your manuscript after you've finished that first draft is essential. Give yourself some time and distance from your story, so you can come back to it with fresh eyes and a clear head. Go for a walk, binge-watch that show everyone's been talking about, or even work on a different project for a bit. When you come back to your book, you'll be amazed at how much more clearly you can see its strengths and weaknesses.

Then, read your book like a reader. Read it all the way through. Pretend you've never seen this story before and read it from start to finish without stopping to make notes or corrections. As you read, pay attention to your own reactions. Are there parts that feel slow or boring? Are there characters that feel flat or underdeveloped? Are there plot points that don't quite make sense or feel unearned? Make a mental note of these issues but resist the urge to fix them just yet.

When you have done that, map out your plot. Now that you've read your book with fresh eyes, it's time to get down to the nitty-gritty of developmental editing. One of the best ways to do this is to create a detailed outline or plot map of your story. Break down your book into its major plot points and track your characters' arcs and development throughout the story. This will help you see the big picture more clearly and identify any areas where your plot might be sagging or your characters might be acting out of, well, character.

Pacing is another crucial element of developmental editing. You want your story to move at a compelling, page-turning pace, without feeling rushed or bogged down in unnecessary details. Take a hard look at your plot map and identify any areas where the pacing feels off. Are there scenes that could be cut or condensed? Are there moments where you need to slow down and let your characters (and readers) catch their breath? Don't be afraid to be ruthless here—if a scene isn't serving your story, it's got to go. In fact, every scene should do a job. It should move your story forward in some way. If there are scenes which are just adding description or needless backstory, then cut them.

If, like me, you do copious amounts of research for your stories, one of traps I fall into, is to 'info dump" all the delicious bits and pieces unearthed during research sessions. Cut them. If the information does not move the story along, it's not necessary. So murder those darlings...

(Note: If you are really attached, you can always use the research in blogs or a substack!)

Your characters are the heart and soul of your story, so it's essential to make sure they're as well-developed and compelling as possible. Take a close look at each of your major characters and ask yourself some tough questions. Are they fully realized, three-dimensional people with their own goals, motivations, and flaws? Do their actions and choices feel authentic and consistent throughout the story?

Although developmental editing isn't about polishing your prose, it's a good idea to keep an eye out for any glaring issues with your writing style or technique. Are you overusing certain words or phrases? Are your sentences clunky or confusing? Are you showing instead of telling? Make note of these issues, but don't get bogged down in fixing them just yet. Remember, the goal here is to focus on the big picture, not to get lost in the weeds of line editing.

Only when you've gone through your book with a fine-toothed developmental comb, is it time to bring in some outside perspectives. Reach out to a few trusted readers—whether that's critique partners, writing group members, or just friends and family with a keen eye for story—and ask them to give your book a read. Be specific about the kind of feedback you're looking for and be open to their suggestions and critiques. Remember, the goal here isn't to have your ego stroked, but to make your book the best it can be.

Armed with feedback from your trusted readers and your own self-editing insights, it's time to dive into revisions. This is where the real magic happens. Don't be afraid to make big, bold changes to your story—if a character needs to be cut or a plot point needs to be reworked, do it. But also, don't feel like you must accept every suggestion or critique. At the end of the day, this is your book, and you must feel good about the changes you're making.

Finally, there comes a point in every writer's journey where you must know when to let go. You could tinker with your book forever, but at some point, you must trust that you've done the work and it's ready for the next step. So, take a deep breath, give your manuscript one last loving polish, and send it off to your copyeditor with pride. Your "murder" is complete!