writing

  • Editing, Writing

    Trust issues: Why trusting your reader is vital for strong storytelling

    A lack of trust can erode your story in subtle ways. Here’s how it tends to show up and how to show your reader you trust them.

    Two women sit on a couch with a pile of books and papers between them.

    As a journalist, one of the most common questions I field when interviewing people is: “Can I see the article before it goes to print?”

    Even though I’m used to it, I can’t help but sigh whenever they ask.

    Why? Inevitably, the subject of your article will want to make changes.

    On a journalistic level that’s a huge no-no as it compromises the integrity of your work. But even for a softer piece (ie: not the stuff of Walkley Awards), it can be an issue if your subject baulks at off-the-cuff comments they made that bring life and 

    colour to the story, and attempts to replace them with bland, pre-prepared answers.

    What I wish I could tell them is: Trust me to do my job well. Trust that others won’t judge you for showing a little personality.

    Trust is key in fiction writing too.

    Not only do you need to trust that a far-off reader will one day enjoy the story you’re working so hard to write, but you have to trust that future reader to get it – the joke, the emotion, the connections.

    In short, trust that your reader is smart enough to pick up what you’re putting down.

    As an editor, something I see a lot is writers who don’t yet trust their reader. It tends to show up in their work in two big ways.

    The big-picture info dump

    The first is with long blocks of backstory or world-building information that tell the reader exactly what they need to know right off the bat. We call these ‘info dumps’ because, well, you get it.

    This often looks like exposition that summarises the story’s setting or context before any action occurs. Or it might be a character reflecting on something important that happened to them in the past in lengthy detail.

    If you come across this in your work, see if you can show the information instead. Make your protagonist active in the world you’re creating and allow important details to come out organically as they interact with the setting and other characters.

    If it’s backstory that’s important to a character’s current situation, consider whether you need to give the reader all of it in one go. Maybe you can hint at a past betrayal or hurt at a critical moment and build up those hints with more detail as the story unfolds to create intrigue.

    And in both cases, resist the urge to repeat key details. Trust that your reader will be banking this info in their memory as they absorb the story.

    The sentence-level tells

    Another way a lack of trust shows up is with adverbial speech tags and/or explanations after dialogue.

    For instance, if you write something like:

    • ‘I hate that this is happening again,’ he shouted angrily, reminding her that they had already had this argument, over and over, and nothing had changed.

    Consider if you’re going a little too far in telling the reader what’s happening. Is the dialogue enough to a) convey that he’s angry, and b) tell the reader that the characters have been in this situation before? Yes and yes.

    A simple solution is to cut the adverb ‘angrily’. The speech tag ‘shouted’ does the job.

    But what about the rest of the line? Rather than hammering the point home to ensure your reader picks up on the significance of this moment, what if you show it through the POV character’s reaction?

    • ‘I hate that this is happening again,’ he shouted.
      She closed her eyes. It would be different this time. It had to be.

    This rework immediately creates curiosity in the reader. They understand that this is something that’s happened before. Now they’re asking, What happened? And why does it need to change?

    Learning to trust your reader in this way can be scary – it feels a lot like giving up control. What if they don’t get it? What if they miss something important?

    But trust in fiction is also about respect. When you take care not to over-explain, you convey to the reader that you respect their intelligence and their role in bringing your story to life.

    Because when you think about it, writing and reading is a collaboration. You’re teaming up with your reader to conjure the world and characters you’ve created in their imagination.

    The reader is trusting you to tell them a great story. Trust them to understand it.

    This post originally appeared in my fortnightly newsletter. If you’d like writing advice like this sent directly to your inbox, sign up via the form below. And if you’re looking for an editor you can trust with your story, reach out for a free sample edit of 1000 words.

  • Editing, How-to, Writing

    Tips for using expletives in fiction

    Do you use expletives in your fiction writing? Here are some pointers to keep in mind when you’re dropping those swear bombs.

    I’m here for expletives in writing – a well-timed F bomb or a creative obscenity can inject tension, humour and relatability into dialogue and inner narratives. But like anything, too much can ruin the effect. Here are some pointers to keep in mind when you’re writing expletives into your fiction. 

    Don’t overdo it

    The first rule of expletives is: the more you use them, the less impact they have. Most readers won’t notice if your characters don’t swear, but they will notice (and might be put off) if they’re total potty mouths. Try to hold back and drop in those swear words only when they’re really need to enhance a dramatic moment or reveal character.

    Remember, dialogue isn’t supposed to be a perfectly accurate portrayal of real speech; it just gives the impression of real speech, but is usually far more concise, clear and engaging. So even though you might throw around a lot of casual swear words in your everyday conversations with friends, the same sort of carefree cursing might not translate authentically on the page.

    For inspiration on how to write tension without profanities, check out Lee Child’s work – although he writes gritty action thrillers, he famously doesn’t use any graphic language.

    They’re not a shortcut to character

    It’s a common trap to stuff sentences with expletives (effing, damn etc) in an effort to create a tough character or a distinctly masculine voice, especially if you’re not used to writing these types of characters. Problem is, not only is this tiring on the ear, it doesn’t really tell us much about who this character is. 

    Instead, spend some time getting to know your character, thinking about their influences and background to inform the speech patterns and delivery styles that would make sense for them. For instance, a softly spoken threat or insult can be far more powerful than an angry ‘eff off’.

    Use it when it’s least expected

    Contrast is a great way to capture your readers’ attention. Do you have a prim character who always does the right thing? Someone who blushes or bristles at the slightest hint of a four-letter word? Let them drop a spicy swear bomb in a pressurised moment and enjoy the shockwaves.

    Be creative

    A creative swearer is far more interesting and enjoyable to read than a regular curser. Leaning into more unexpected profanities can inject humour into a scene and tell us a lot about your character.

    Take inspiration from Shakespeare, the master of foul-mouthed rants and insults, like this one from Henry IV: “Thou clay-brained guts, thou knotty-pated fool, thou whoreson obscene greasy tallow-catch!”

    Ouch, right?!

    Or follow Douglas Adams’ lead and reassign meaning to an unlikely word for laughs. In The Hitchhiker’s Guide to the Galaxy, ‘Belgium’ is considered the most offensive word in the universe.

    When not to use expletives

    Expletives won’t be right for all kinds of books. For instance, if you’re writing middle grade or young adult fiction, it might not be appropriate to use swearing so you’ll need to find another way to allow your characters to let off verbal steam. 

    I’ve also heard that it’s best to avoid swearing in the opening pages of your novel, lest you put off readers sampling the first chapter. The theory goes that they might overlook some casual cursing once the story gets going and they’re familiar with the characters, but can be offended if they see it straight off the bat.

    I’m not a fan of prescriptive rules like these – and you’ll find plenty of fantastic books that break them – but it can be worth bearing in mind and considering whether all of your expletives really need to be on the page or if you can find a better way to get your character’s point across. Are you using expletives to ramp up intensity, and would an action beat or tighter dialogue do a more effective job?

    Finally, it has to make sense for your voice too. If it doesn’t feel good for you to use swear words in your fiction, it won’t work on the page, so don’t feel that you have to include them just to make a character sound authentic.

    Want help fine-tuning your writing and feedback on your use of profanities? Contact me about line and copyediting for your novel.

  • Editing, Writing

    When is the best time to work with beta readers?

    Here are my top three tips for authors preparing to send their work out to beta readers

    A question fiction authors often ask me is: When should I get beta readers involved in my process? Before or after editing? Early on in my drafting process or just before publishing?

    (For the uninitiated, a beta reader is someone who reads and gives feedback on your unpublished work. It’s a sense-test for how your novel will be received by your ideal audience.)

    For the most part I’m a bit of a fence-sitter in my replies, because I don’t think there’s one right way to work with beta readers, just as there isn’t one right way to write a book.

    Bu-ut … I do have some thoughts that might be helpful to keep in mind if you’re considering working with beta readers. Here’s my two cents.

    There is such a thing as ‘too soon’

    If you’ve just finished a first draft of your story you might be feeling excited or anxious to get an outside perspective. You’ve been deep in the weeds with it and you want to know now before you go any further if you’re on the right track.

    The trouble with sending your work out to beta readers at this stage is that you can end up thoroughly confused by their responses. If you’re not sure yet where your story is going, your readers won’t be either, and they’re more likely to give you unclear or random feedback that has the potential to muddle your vision.

    While beta readers are sometimes writers themselves, it’s not necessarily the case, and they may not have the language or knowledge to express why something feels off in your story.

    My advice is to hold off on beta reading until later in your process when you’ve locked down the big-picture elements and you can articulate specific areas you’d like reader feedback on, such as pacing, plot predictability or character relatability.

    If you do want that early reader input, consider working with a critique partner (for example, a fellow writer who understands the conventions of plot and character) or joining a writing group or course, where you’re more likely to get targeted, useful feedback.

    Choose your beta readers wisely

    If you’re writing in a specific genre, it’s important to connect with beta readers who regularly read and enjoy that genre. These are your ideal readers, the people who are likely to buy your book when it’s published.

    That might sound obvious, but consider this scenario: one of your good friends is a big reader and you really respect their opinion, so you’ve shared your manuscript with them. But your friend is a fan of crime and literary fiction, and you’re writing romance.

    If your beta readers don’t understand the conventions of romance or enjoy the type of story that has a happy ever after, your novel’s plot might not engage them and they could suggest changes that aren’t suitable for your genre or trope. Worse, you might end up feeling crappy about your story just because it didn’t hit with someone outside your target readership.

    Take your time responding to feedback

    When you receive feedback, take the time to let it sink in before you make changes. As writers we can doubt our own decision-making and defer to others’ opinions, but making knee-jerk decisions based on an array of responses can end up giving your manuscript a Frankenstein feel.

    If, say, you receive feedback that one of your characters is annoying and unlikeable, consider how you might respond to that. Should you remove the character? That’s an option – but what flow-on effects would that have?

    Perhaps the feedback is really telling you that your character needs more development on the page so readers can understand what’s driving their behaviours.

    The same goes for plot points that beta readers might flag as dull – rather than cut or replace them, how could you raise the stakes and tension?

    Commonalities in beta readers’ feedback are worth noting, but don’t feel compelled to respond to every quibble your readers have raised. Remember, as the author, you know your story and characters best. Take what resonates and feel free to disregard what doesn’t.

    I’d love to know – do you work with beta readers? What tips would you give other authors?

    If you enjoyed this post, sign up to my newsletter! Every fortnight I share tips, advice and thoughts on writing and editing with my community. You’ll also receive my free guide, How to Know You’re Ready for Editing.

  • How-to, Writing

    How to write great chapter and scene openers

    Chapter and scene openers matter just as much as the closing lines. Here’s some tips for crafting strong scenes from the very top.

    If you want to keep your readers hooked at the end of a chapter so they’re up all night reading your book, you know what to do: drop a clue, drop the mic, or drop a cliffhanger they can’t resist.

    But what about the next page? How do you harness that momentum and intrigue at the top of the next chapter or scene?

    Chapter and scene openers need to work just as hard to keep your readers invested, and when you put thought and care into them, they will lure your readers through your story.

    Here are a few tips for crafting strong scenes from the very top.

    Consider its purpose

    Just as your novel has a beginning, middle and end, so should your scenes. They need to move your story forward, and to do that they need a purpose.

    When you’re writing or reviewing a scene, think about its overall purpose in the story. Is it setting up a conversation that will reveal an important clue? Perhaps it’s pushing a couple to a make-or-break point. Or it could be about putting a character under stress or moving them closer to their goal. Pinpointing what the scene needs to do can give you ideas about the most impactful place for it to begin.

    In Chapter 20 of Love, Just In by Natalie Murray, a scene in which the protagonist Josie confronts her health anxiety with a doctor for the first time opens with this line:

    • Doctor Ellison is running nearly an hour behind, leaving me plenty of time to read and reread the cancer awareness posters taped to the wall until my palms are slick and my mouth has dried to a desert.

    In this scene, the consult with the doctor is what moves the story forward, so Murray doesn’t spend too long building up Josie’s anxiety beforehand.

    Instead, she opens in the moment just before the appointment begins and shows us how Josie is feeling in one carefully crafted sentence. The next line shows her name being called, and we’re straight into the scene with the doctor.

    Cut mundane detail

    It’s easy to do because we live it, but chapter and scene openers that describe mundane activities (waking up and brushing teeth, washing dishes, having a polite chat) or an info dump (lots of backstory), or a routine journey can slow the pace and give your reader an excuse to tap out.

    The beauty of writing a book is that scene and chapter breaks can cut the chaff for you – there’s no need to show a character going from A to B or making small talk about the weather when you can open a scene or chapter with drama.

    Try cutting the stage directions and opening in medias res – the middle of the action – whether that’s a tense conversation or a chase down the street or a devastating reveal.

    Here’s an example from Chapter 24 of Not Here to Make Friends by Jodi McAlister (Murray’s POV), which opens with an irresistible line of dialogue:

    • “You’re angry with me,” Lily said.
    • She was standing in front of my golf cart, arms folded.

    We don’t see Murray make his way to the golf cart, start the engine and roll down the hill, nor do we see him clock Lily making her way across the lawn. We dive straight into their make-or-break conversation.

    Make us laugh

    Use your character’s inner voice to get us on side.

    What are they thinking in this moment? Starting with that thought, especially if it’s incongruous with the scenario they’re in, is like catnip for readers.

    Consider this from Chapter Seven of That Island Feeling by Karina May, in which POV character Jack is cleaning rooms at the local resort:

    • Humans are foul. Especially humans on holidays. It’s like they forget the basics of cleanliness. Coffee stains on sheets, crumbs on sheets – other things on sheets.

    Or this line from Wattle it Be by Emma Mugglestone, when Wyatt fronts up for dinner with the crush he can’t have, Billie (page 42).

    • It wasn’t like this was a real date.  

    One is written in first person, the other third, but both examples show us the character’s unique voice, pulling us in with their humour and wilful self-delusion.

    Set the scene

    Writing isn’t all dialogue and inner narrative. You also need to anchor the story in place. Setting the scene can be an effective way to open a chapter – just take care not to overdo it. A few lines of description can paint a picture, while a few pages can send the reader to sleep.

    This para from Chapter Five of Kit McBride Gets a Wife by Amy Barry works beautifully – it’s just enough rich detail to bring to life the charming tableau that’s about to be shattered by Junebug’s rough manners and scheming.

    • Willabelle was holding court in one of Rigby’s high-backed cane chairs. She was decked out in canary-yellow satin, with an enormous fluffy yellow feather curling from her pile of blond hair. She was glowing, the sun around which everything orbited. The porch was crammed with miners. Every seat was full, and the porch rail was hidden, as men lined it, elbow to elbow. All of them had their gazes trained on Willabelle.

    Bonus tip: Don’t overthink it

    Not every scene needs to shock and awe. You need some variety in your novel, and some slower-paced openers can allow readers time to breathe and absorb the story.

    But if you feel that your writing is falling flat, playing around with those chapter and scene openers and cutting away extraneous detail to highlight the purpose of the scene might just be the way to add some sparkle to your story.

    Want help refining your scene and chapter openers? Get in touch to chat about editing for your novel.

  • Author interviews

    Jade May is empowering her readers

    This author of spicy contemporary romance is bringing pleasure out of the shadows.

    Jade May author

    Romance authors know all too well that writing about love and relationships will likely lead to a few dismissive remarks and suggestive comments. If your books rank on the higher end of the chilli-rating system, it’s a guarantee. But what these raised eyebrows and sleazy winks fail to acknowledge is the important role that the romance genre plays in making pleasure accessible.

    I was at the Romance Writers’ Association conference in 2024 when bestselling writing duo Christina Lauren gave a rousing speech on how writing and reading romance is a feminist act: one of liberation, body empowerment and inclusivity. Author Jade May’s approach to writing spicy romance fiction echoes that important message.

    Jade has Crohn’s disease, an autoimmune condition that not only flipped her world upside down, but disrupted her connection with her body and femininity. As she explains here, romance helped her find her way back to herself – and now she wants to help as many people as possible discover their own path to pleasure.

    “I hope my novels offer readers a much-needed escape – a safe, empowering space where they can explore desires, fantasies, and kinks without fear of judgment,” Jade says. “I want my stories to be part of that larger fictional world where self-discovery and sexual liberation are celebrated, not shamed.”

    I worked on the line and copyedit for the first two books in Jade’s Eden series – contemporary romances set in the high-stakes world of billionaires, starring strong, empowered women who work at a gentleman’s club called Eden. Yes, they’re seriously spicy, but they’re also funny, heartfelt, and deliciously propulsive.

    Here, Jade opens up about her journey to writing spicy romance, what makes a great spice scene, and why her stories are designed to empower readers.

    Jade, tell us a little bit about who you are and how you got into writing.

    I’m an Australian spicy romance author living in sunny Sydney with my husband and our little whirlwind of a son. By day, I run my own business, and by night – when I’m not dozing off in front of the TV – I’m weaving angsty, steamy love stories.

    I’m a Kindle junkie because, let’s face it, my tiny Sydney home doesn’t have room for a sprawling bookshelf. Dark romance is my favourite sub-genre, and I’ve always been a voracious reader.

    I started writing during the COVID lockdowns – a way to express my creativity into something meaningful. What started as a personal project has now become my greatest passion, and I couldn’t be more excited to share my stories with all of you

    How do you describe the stories you write?

    I’d describe my stories as contemporary spicy romance – steamy, emotional, and full of heart. While the heat level is definitely high (and the scenes can get quite explicit), I wouldn’t call them erotica. For me, the spice is never the main event; it’s there to enhance the storyline, deepen the characters’ connections, and add that extra spark. It’s all about finding the perfect balance between passion and plot.

    Tell us about your new release, Tempted by Eden, and the Eden series. What can readers expect from these stories?

    The Eden series centres around the strong, independent women who work at Eden, a luxurious, exclusive brothel where control and desire intertwine, and the rich and famous indulge in their wildest fantasies. But Eden isn’t just about steamy encounters; it’s a world where secrets unravel, boundaries are tested, and true selves are revealed. As they navigate complex relationships, power struggles, and personal growth, they discover their happily-ever-afters with their irresistible alpha men. It’s a series of passion, betrayal, forbidden love, and self-discovery.

    Tempted by Eden is the first book in this spicy interconnected standalone series, which releases on 19 February, 2025. It’s an enemies-to-lovers office romance with a touch of kink, a dash of angst, and an ending that will leave you swooning. Expect high heat, complex emotions, and kink-positive messages throughout the series.

    Eden is a world where secrets unravel, boundaries are tested, and true selves are revealed.

    Why were you drawn to writing spicy romance fiction?

    I was diagnosed with Crohn’s disease at thirteen – right at the threshold of teenage life, when so much of your identity is shaped by the experiences you share with others. I spent a large part of those formative years in hospital, missing out on milestones that most teenagers take for granted. But during those long hospital days, I found solace in reading. Back then, I was a fantasy enthusiast, losing myself in epic tales of dragons, vampires, and werewolves.

    As I got older, my tastes shifted toward romance – spicy, empowering, and unapologetically bold. These stories opened my eyes to the multifaceted power of womanhood – its beauty, messiness, and resilience. They gave me the courage to explore my own desires, understand what appealed to me sexually, and connect with my femininity in ways I’d never done before. Romance was the only genre I saw that was created by women, for women, with women placed unapologetically at the centre of the narrative and desire.

    Spicy romance stories gave me the courage to explore my own desires, understand what appealed to me sexually, and connect with my femininity in ways I’d never done before.

    Living with a chronic illness, I’ve often encountered the assumption that disabled people – whether their disabilities are visible or invisible – are somehow sexless or less-than. Romance fiction shattered that narrative for me. It reminded me that we all share the same desires, needs, and vulnerabilities, regardless of our physical limitations. That realisation was deeply empowering and gave me the confidence to embrace my identity fully.

    Writing romance became a natural evolution of that journey. I wanted to create stories that offered the same kind of escape and self-discovery that reading gave me. Through my books, I hope to provide a safe space for women to explore their own desires and fantasies without judgment – while celebrating the messy, beautiful complexities of life, love, and everything in between.

    While reading and writing spicy romances didn’t magically cure my health struggles, it gave me something equally valuable: a space to heal emotionally, rediscover my femininity, and feel truly seen.

    People often dismiss romance as a genre, particularly erotic fiction. What’s your response to those who see romance as less worthy than other genres?

    The numbers don’t lie – romance is one of the most profitable fiction genres, generating around $1.44 billion in sales annually in the US. Clearly, there’s a massive appetite for it, and for good reason. Romance provides an escape, a refuge in a world that often feels chaotic and challenging. It’s a genre that champions sexual liberation, self-discovery, and human connection.

    For me, writing Tempted by Eden was deeply inspired by themes of self-discovery, feminism, and sexual liberation. It’s my hope that my books not only entertain but also provide that same safe space for others to embrace every part of who they are. Romance is anything but “less worthy” – it’s transformative.

    Your books also explore themes around the stigma sex workers face, and even though your female characters play submissive roles with their partners, they are strong, independent women. Is it important to you as a writer to portray sex-positive and feminist characters?

    Absolutely. I aim to emphasise that submission in a relationship or in the bedroom is a choice – a consensual, empowering one – and it’s not a reflection of weakness or lack of independence. My female characters are strong, self-assured, and know exactly what they want. They communicate their needs, assert their desires, and actively participate in creating dynamics that work for them. In fact, in any submissive relationship, the submissive partner holds immense power because they set the boundaries and ensure they are respected.

    The most important takeaway I want readers to have is that kink, including BDSM, is a personal and erotic choice – one grounded in consent, trust, and mutual respect. There’s a misconception that engaging in BDSM, especially as a submissive, somehow negates your feminist values. That couldn’t be further from the truth. Feminism is about choice – the freedom to live authentically and pursue what fulfills you, whether that involves submitting to a partner in an intimate context or not.

    It’s also essential to highlight that submission is about communication, having your needs heard, and creating an environment where you feel safe and valued, regardless of your partner’s gender or identity. My stories aim to challenge the stigma surrounding these dynamics while celebrating empowered, sex-positive women navigating their own paths with confidence and agency.

    Let’s talk about the craft side of it: Your books have some seriously hot spice scenes, which is a real skill! Have you always been good at writing spice or did you have to work at it?

    Spice is definitely something that has come naturally to me – it’s like my comfort zone when writing. The emotions, the tension, the connection – it all flows so easily. Honestly, it’s everything else that takes work! Crafting a strong plot, developing complex characters, and ensuring all the threads come together seamlessly? That’s where I’ve put in the hours. But the spice? That’s where I get to let loose and have fun.

    Write from a place of genuine emotion and connection. Spice isn’t just about the physical – it’s about the tension, the longing, and the intimacy between the characters. Focus on how the scene propels the relationship forward.

    What advice would you give other authors for writing spice?

    I wish I could give a detailed roadmap for writing great spice, but for me, it’s something that flows naturally – I just sit down and let the words take over. That said, I do have to be in the right mindset for it. If I’m not in the mood, the spice won’t translate well on to the page, so I don’t force it. Sometimes, I avoid writing those scenes altogether during certain parts of the month when I’m not feeling it.

    If I had to give advice, I’d say this: write from a place of genuine emotion and connection. Spice isn’t just about the physical – it’s about the tension, the longing, and the intimacy between the characters. Focus on how the scene propels the relationship forward or reveals something new about the characters.

    Ultimately, the best spice comes when you’re enjoying the process. So set the mood, let go of any pressure, and write what feels authentic to your story.

    Tell me a bit about your writing process. Do you have a writing routine that you follow? How do you keep your ideas and words flowing?

    Honestly, this is something I’m still figuring out! I haven’t quite nailed down a writing routine that works perfectly for me. Up until now, my writing has fit in around my health, family, and business – they always come first. I’m currently experimenting with different approaches to see what sticks and what feels sustainable long-term.

    One of my biggest challenges is being a perfectionist. I constantly want to edit and refine as I go, which slows down my progress and sometimes keeps me stuck in the same place. This year, I’m trying something new: writing sprints and committing not to edit or rewrite until I’ve hit 20,000 words. It’s a way to let the story flow and keep myself moving forward.

    I think the key is to stay flexible and patient with yourself. Writing is a creative and personal process, and what works for one person might not work for another. It’s all about finding your rhythm and allowing yourself the grace to adjust as you go.

    What’s your favourite writing craft tip or mantra?

    My favourite writing mantra is: Don’t force it. If you’re not feeling it, step away. Writing when you’re uninspired often leads to work that doesn’t feel authentic – and more often than not, you’ll end up rewriting it later. Let the ideas come naturally, and when you’re in the right mindset, the words will flow and truly resonate on the page. Writing should feel like a connection, not a chore.

    I really enjoyed copyediting two of your books last year and especially loved the humour and depth you injected into your stories – the characters are really relatable and vibrant. You also have a great sense of how to pull readers through a book. How important is editing to your process?

    Thank you so much – you’re too kind! It’s funny you mention the humour because I never intentionally set out to inject it into my books, but it somehow sneaks in through my writing style. I guess it’s just a natural part of how I tell stories!

    Editing, though, is absolutely fundamental to my process – it’s where the magic really happens. I usually start with a first draft to get the story down, then move on to a second draft to polish and refine. After that, it’s off to developmental editing, where I make sure the structure and characters are as strong as they can be. Then comes another round of revisions, followed by line and copyediting to tighten the prose and perfect the details. Finally, I wrap it all up with proofreading to catch any lingering errors.

    Each stage of editing is critical, and I truly believe it’s what transforms a story into something special. It’s hard work, but seeing the final result – something I’m proud to share with readers – makes it all worth it.

    Can you tell us what you’re working on at the moment?

    Right now, I’m deep into the third book of the Eden series – but it’s all under wraps for now! I can’t share too much just yet, but what I can promise is the same signature mix of heat, emotion, and angst from my other books. Stay tuned – this one’s going to be worth the wait.

    Finally, where can we buy your books and follow your author journey?

    You can grab Tempted by Eden on Kindle Unlimited from 19 February. Seduced by Eden is available at all online retailers for pre-orders and will release on 21 May. After its release, it will move exclusively to Amazon – so don’t miss your chance to snag it on other platforms. For collectors, my special limited-edition foil hardbacks, printed in stunning full colour, are available on my website – they’re absolutely gorgeous!

    Stay connected and follow my author journey on Instagram, TikTok, Threads, and Facebook: @authorjademay. Join my reader group, Jade May’s Manor, or sign up for my newsletter to stay in the loop and get exclusive updates.

    PS: Writers, if you’d like to chat about line and copyediting for your romance, drop me a line for a free sample edit and Zoom call.

  • Author interviews

    Christina Gustavson has a sixth sense

    The Swedish crime novelist shares how her career in forensic psychiatry shapes her writing.

    Christina Gustavson

    If anyone knows how to get inside the mind of a killer, it’s Christina Gustavson.

    The Swedish writer is well into her second act as a novelist after a successful career as a forensic psychiatrist and medical doctor.

    Christina puts these skills to good use in her crime novels, two of which are now available in English via Amazon: Murderous Lies and Sixth Scent. Set in the idyllic Swedish countryside, they simmer with tension, complex characters and twisty, ripped-from-the-headlines plots.

    I loved working with Christina on the copyedit for the English versions of these books, and I asked her to share more about her process here.

    Christina, tell us a little about yourself. Where are you based and what kind of novels do you write?

    I live in the southern part of Sweden and I mainly write crime novels, but I have written some non-fiction books on mental health and some other more feel-good novels as well. I have a PhD in forensic psychiatry, and I’m also a medical doctor and a specialist in general psychiatry, general medicine and forensic psychiatry.

    How did you get started in writing?

    I have been writing since I was very young. In the beginning I wrote a diary, articles for newspapers, lectures during my work etc, and gradually the idea of writing a book came to my mind. I actually started writing non-fiction books; the first of these, about recognising the symptoms of depression in family, friends and colleagues, sold out within a week, and this naturally spurred me to continue writing and explore other genres as well.

    What drew you to the crime/thriller genre?

    Probably three things: the profession of my grandfather, being a local judge; my own profession as a medical doctor and forensic psychiatrist; and the fact that I like solving problems. I prefer to read crime novels, so when starting writing it was natural to write crime novels.

    How do you draw on your background as a forensic psychologist in your fiction? For instance, does it help you understand your characters’ motives? Do you have insight into police methods?

    Both. It definitely helps me understand the motives and what goes on in the characters’ heads, but I have insight into police methods as well.

    Where do your ideas for your novels come from?

    It might be a picture, a headline in a newspaper or just a few words I overheard accidentally somewhere that thrilled my imagination. I am very careful never to use my previous patients and their crime stories in my books, because of privacy laws, but also because it’s more fun to invent my own stories and be creative.

    If over a hundred other authors have written about crimes in our capital, why should I? I prefer to find my own ways and unique settings.

    I love being able to visit the Swedish countryside through your novels. What makes it a great place to set a crime?

    A crime can take place anywhere, but I have chosen to write about the Swedish countryside and places I know well, since it helps me to build more authentic stories. Besides, if over a hundred other authors have written about crimes in our capital, why should I? I don’t like to follow the mainstream. I prefer to find my own ways and unique settings.

    Can you share a little bit about your writing process? Do you have a writing routine?

    Yes, I have a routine. I get up at 6.30 am every day, seven days a week, and sit down in front of my laptop and try to keep up “office hours”. But writing is also a thinking process – the words do not automatically pour out from my pen like water from the tap, thus I think a lot while driving around in the countryside, and I have a special recliner chair where I can sit and permit myself to do nothing at all but think.

    I get many ideas that I like to explore. This means I’ve started writing several books. I write one chapter here and there when I feel like it, or get some idea, but when I have written approximately 25 percent of a book, I think it might be worthwhile completing it, and I decide to go for it. Then I work only on that manuscript until the whole book is ready.

    When writing a non-fiction book, I am definitely a plotter, but when writing crime fiction I start from an idea and then I like to see where the story goes. I have discovered that sometimes my characters start to live their own lives and don’t always do what I had had in mind when starting the writing process. This makes the writing very thrilling for me.

    I’ve really enjoyed working on the English versions of your books. Can you share some of the biggest differences you’ve found in writing for English readers as opposed to Swedish?

    There are linguistic differences – for example, in English you would say, He opened his mouth, while in Swedish, people would think, What! He can hardly open anyone else’s mouth, so in Swedish it will be He opened the mouth.
    But the main trap is what is understood “between the lines”. This differs a lot, as well as various expressions and idiomatic sentences that can’t be understood if translated word by word.

    I have discovered that sometimes my characters start to live their own lives and don’t always do what I had in mind when starting the writing process. This makes the writing very thrilling for me.

    How do you find the editing process in general? Do you enjoy it?

    I enjoy it very much, though it is a tough job. Sometimes I have to “kill my darlings”, sometimes I find eye openers or realise that what I have written can be misunderstood or not understood at all. To work with an editor is a fantastic process, giving a feeling of completion, a feeling that now this book can’t be better, and I am ever so grateful for having your help in improving and refining my English manuscripts. [Editor’s note: Thank you!]

    What do you think makes a great crime novel? What advice would you give other authors who want to write crime?

    Everyone’s taste is different, but I like realistic stories; it must work. My advice:

    It will be more fun for the reader if you place your plot in a place no one else has written about before. Make it your own spot on earth.

    Use a scenario (place, profession, music etc) that you know very well and can give exact descriptions about.

    The police work must be accurate when writing crime.

    Don’t just tell about things happening as seen in a distance or told afterwards, but let the reader, through your words, be right there where it happens, and see, hear, smell, taste and experience.

    Be careful about your research and spend time finding your facts.

    Avoid giving psychiatric diagnoses. My guess is that at least 95 percent of the world’s population has none, so try to stay within the “normal” variables – but if you do use a diagnosis, make sure your character fulfils 100 percent of the criteria throughout the whole book.

    Don’t forget to portray instead of giving plain descriptions.

    If you’re interested in crime fiction, you have probably seen a number of American films or TV series. Court procedure and police work is not like that everywhere. Do find out the exact procedures in your own country or the country where you placed your plot.

    What’s next for you – when will Sixth Scent be released and do you have another book in the works?

    Sixth Scent is out now. Since I know by experience that I get a kind of “post-partum depression” when I have published a new book, I’ve already started a new project.

    What’s the best way for English readers to keep up with your work?

    You can visit my website http://www.gustavson.se or follow me on Facebook: http://www.facebook.com/christina.gustavson.58 or Instagram: @christinagustavson.forfattare

    Christina has written a staggering 17 crime novels, published in Swedish. Two have been translated into English and are available on Amazon: Murderous Lies and Sixth Scent.