REVISION and EDITING - Arabella Sheen

 

WEEK ONE – REVISION  and  EDITING

The words have been written and the story told. Congratulations on completing your novel! That’s a huge achievement. Now that the manuscript is done, here are some key steps an author should consider doing next:

1. Revision and Editing

2. Decide on a Publishing Path

3. Build Your Author Platform

4. Marketing and Promotion

5. Legal and Business Considerations

6. Plan Your Next Steps

Over the next couple of weeks, I’ll be posting several blogs that cover these steps in more detail, and I hope they'll be useful to you.

Happy writing…

Arabella Xx

Revision and Editing

Self-editing: Review your manuscript multiple times for structure, plot consistency, pacing, character development, and grammar.

You’ll often find your first draft is missing elements in the story, so a read-through, adding to the gaps in the plot, might be a good idea at the revision stage. You might also discover paragraphs or even pages that are redundant to the story. They will affect the pacing and should be deleted.

Beta readers: Share your manuscript with trusted readers to get feedback from fresh perspectives. Your beta readers will tell it like it is. Listen to them. Very often, some good advice will come your way.

Professional editing: If you have the budget to do so, hire a developmental editor and/or copy editor to polish your manuscript professionally.

Revising and editing a novel is both an art and a discipline. It’s where a decent draft becomes a compelling story. Here are the key things to consider at each level of revision:

1. Big Picture Revisions (Structural or Developmental Editing)

Focus: Story structure, plot, characters, pacing

Plot coherence: Does the story have a clear beginning, middle, and end? Are there logical plot developments and satisfying resolutions?

Character development: Are characters multi-dimensional? Do they have arcs? Do they grow and develop throughout the story? Are their motivations clear and believable? Have they changed for the better by the end of the story, or have they retained their character flaws?

Pacing: Are any parts too slow or rushed? Are tension and stakes sustained throughout?

Theme and tone: Is the tone consistent? Are the themes coming through clearly?

World-building (for genre fiction): Are the rules of the world clear and consistent? Is the setting vivid without being overwhelming?

 

2. Scene-Level Revisions

Focus: Scene dynamics, changes, dialogue, beats

Scene purpose: Does each scene move the story forward or reveal something essential?

Conflict and tension: Does each scene have tension, stakes, or emotional weight?

Show vs. Tell: Are emotions and actions shown rather than explained?

Dialogue: Is it natural, purposeful, and true to each character’s voice?

Transitions: Do scenes and chapters flow smoothly? Is the passage of time clear?

You might want to mark each scene’s purpose in the margin—if it doesn’t have one, consider cutting or revising it.

 

3. Line-Level Editing

Focus: Language, clarity, consistency

Clarity and flow: Are sentences clear and well-structured? Is the prose smooth?

Voice: Does the writing have a consistent and compelling narrative voice?

Repetition: Are certain phrases, ideas, or descriptions overused?

Word choice: Are verbs strong and precise? Are metaphors fresh?

Consistency: Are names, timelines, and character traits consistent?

You might want to read chapters aloud to catch awkward phrasing or rhythm issues.

 

4. Copyediting and Proofreading

Focus: Grammar, punctuation, spelling, formatting

Grammar and punctuation: Are there errors in sentence construction or dialogue punctuation?

Typos and spelling: Are all words spelled correctly, especially homophones (e.g., “their” vs. “there”)? Are you writing for the American reader eg. spelled/spelt color/colour?

Formatting: Are chapter headings, margins, and paragraph styles consistent?

Continuity: Are small details (eye color, weather, dates) consistent throughout?

You might find software tools like Grammarly or ProWritingAid helpful—but don’t rely on them completely.

 

5. Feedback Integration

Use feedback from beta readers, critique partners, or editors to guide revisions.

Weigh suggestions carefully: if multiple readers mention the same issue, it likely needs attention.

 

General Mindset Tips

Be ruthless: “Kill your darlings” when something doesn’t serve the story.

Take breaks: Time away from the manuscript gives a fresh perspective.

Work in layers: Focus on different levels (structure, line, polish) in separate passes.

Happy revision and editing...

Arabella Xx

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White Island Villa - Arabella Sheen - Latest Release

 

LATEST RELEASE 

White Island Villa

Where Dreams Can Grow

Arabella Sheen

Can Jason win Beth’s heart and her love?

Jason Andre,  a successful billionaire architect, believes he can have anything he desires, including Beth. She’s a feisty landscape designer, and not only does he want her to create a garden for his villa in Greece, but he also yearns to have her in his bed.

Beth Ashton has said “no” to Jason and his proposal, but when his light aircraft crashes and he loses his sight, she does exactly what she vowed she wouldn’t do … she offers to work for him.

Are Beth and Jason destined to love, or are passion and desire the only things to be found at White Island Villa?

Warning: Contains sensual love scenes.

  

EXERPT

Chapter 1

 
Beth Ashton had one foot out the door of the lodge house when the sharp trill of her phone stopped her in her tracks. She hesitated, debating whether to ignore it, but curiosity won out. Flipping the phone open, she frowned at the blocked caller ID on the screen.

It looked as if it was going to be one of those frustrating days where even the simplest of plans seemed impossible. Her weekend trip home to Devon already felt like an uphill battle. Sighing, she tossed her untamed hair over her shoulder and pressed the phone to her ear. She was determined to keep the call brief as time was not on her side.

She needed to hit the motorway before it transformed into a chaotic crawl of overloaded cars that were crammed full of luggage and restless children. It was a bank holiday weekend, and if she acted quickly, she thought she might just be able to miss the worst of the traffic.

“Hello, Beth Ashton speaking,” she said, forcing a professional tone into her voice despite her rising irritation.

“Ashton?” A man’s voice snapped impatiently on the other end.

“Yes,” she replied, her brows knitting together in suspicion.

“What took you so long? I was beginning to think I’d been given the wrong number.”

The signal wasn’t great, but the man’s tone was unmistakable. It was impatient and sharp, which in Beth’s opinion, was putting it mildly.

Biting back a retort, it took all Beth’s restraint not to come back with the snappy reply, “You’re lucky I’m even answering.”

Instead, she inhaled deeply, steadying herself.

“What can I do for you?” she asked, her voice was calm but clipped.

The man on the other end of the line sounded irritable, and Beth didn’t have the patience to deal with ill-mannered strangers who clearly lacked basic phone etiquette. His accent had a Mediterranean lilt—though she couldn’t be certain—but his English was fluent and precise. Despite the smooth, husky timbre of his voice, which might have been attractive under different circumstances, his tone was unmistakably rude and domineering.

Still clutching the phone, Beth stepped outside, pulling the lodge house door firmly shut behind her. She grabbed her luggage in one hand and awkwardly balancing her mobile in the other, strode toward the waiting Land Rover.

The deep voice snapped at her again, barking something she barely caught.

“I need to speak with your husband. It’s about work. If I leave my number, could you have him call me back … immediately?” The sarcasm in his tone was unmistakable. It was dripping with impatience.

Beth gritted her teeth. “I’m sorry, but I don’t think that’s a good idea—”

“Why not?” he interrupted sharply.

Her earlier impression of him was spot on. Whoever this man was, he was insufferably overbearing. She could even imagine him glancing at his watch, counting the seconds for her to put her non-existent husband on the phone. But it was this man who was wasting her time, not the other way around.

Beth didn’t have a husband, and while the man on the phone couldn’t have known that, she despised arrogant people who assumed they were entitled to whatever they wanted. Especially men like him.

An uncomfortable silence stretched between them, each waiting for the other to speak.

“Your husband,” he pressed again, his voice hardening. “This is his number, isn’t it?”

Beth’s grip on the phone tightened. There was no way she was going to let anyone speak to her like this.

“I’m sorry, but I think you’ve got the wrong number, Mr…?” Beth paused, giving the caller a chance to identify himself. He didn’t.

“I’m trying to reach Ashton—the gardener,” he said curtly. “I’ve recently seen some work at Clifton Hall that he’s done. I’d like him to landscape a garden for me in Greece. He comes highly recommended.”

Beth’s last name was Ashton, and she was a landscape gardener—but she certainly wasn’t a man.

“Well?” the voice prompted, waiting for her response.

Beth still had no idea who this man was.

“Look,” she began, summoning as much calm as she could muster. “I’m sorry you’re having a bad day and seem to be in such a foul mood, Mr…?”

“Andre. Jason Andre,” he replied tersely.

The name tugged at the edges of her memory. It was familiar but not immediately placeable.

“Mr Andre,” she said firmly, “I’m not here for you to shout at. And as I said, I think you’ve got the wrong number. I’ve no idea who you are or what you want.”

There was a pause, followed by the sound of a long sigh of apparent frustration. His tone shifted slightly, still annoyed but now tinged with condescension, as though he were trying to reason with a stubborn child.

Beth felt her irritation rise.

She hadn’t done anything to deserve this man’s attitude, yet here he was, testing her patience. Whoever he was, she already disliked him.

Romance Novel - Plotting Tips - Arabella Sheen

 

1. Define the Core Romance

Writing and plotting a romance novel involves more than just creating a love story—it requires careful attention to character development, emotional arcs, pacing, character chemistry and the themes that drive the relationship. Here's a breakdown of some key things to consider:

2. Know Your Subgenre

Each romance subgenre comes with different expectations:

• Contemporary: Real-world setting, character-driven.

• Historical: Period details and social norms are crucial.

• Paranormal/Fantasy: Unique worldbuilding, supernatural stakes.

• Romantic Suspense: Blend of romance and thriller/mystery.

• LGBTQ+ Romance: Often explores identity and societal dynamics.

• Romcom: Humor and light-hearted tone, often with quirky characters or situations.

3. Tropes and Conflict

Romance thrives on tension, and tropes help create expectations:

• Enemies to lovers

• Friends to lovers

• Fake dating

• Forced proximity

• Second chance romance

• Grumpy/sunshine dynamic

4. Plot Structure

• Core Romantic Arc: Ensure the romance drives the main plot (not just a subplot).

• Meet Cute: A memorable first meeting—awkward, funny, intense, or charming.

• Conflict: Internal (emotional baggage, fear of intimacy) and external (social status, rivals, circumstances).

• Turning Points: Include key moments like the first kiss, a significant misunderstanding, and emotional breakthroughs.

• Climactic Choice: One or both characters must make a meaningful decision that proves their growth and commitment.

• HEA or HFN: “Happily Ever After” or “Happy For Now” endings are genre expectations unless subverting intentionally.

5. Strong, Relatable Characters

• Protagonists: Both romantic leads must feel like real people with clear desires, flaws, and emotional depth.

• Motivations: What does each character want—and what do they need? Often these are in conflict.

• Chemistry: Build it through shared goals, witty banter, tension, or vulnerability.

• Growth: Each character should undergo internal change that mirrors their relationship arc.

• Conflict is essential:

                  Internal: Emotional baggage, fear of vulnerability, past trauma.

                  External: Family expectations, physical distance, societal barriers.

  

6. Pacing and Structure

• Hook Early: Grab the reader quickly with an intriguing character or situation.

• Inciting Incident: A moment that forces the characters together.

• Rising Tension: Keep raising stakes—emotionally and situationally.

• Black Moment: A point where it seems the relationship won’t work out.

• Climax: Usually a grand gesture or realization.

• Resolution: Satisfying and emotionally earned.

7. Romantic Tension

• Slow Burn or Instant Spark: Choose a pacing that fits your genre/subgenre.

• Push & Pull: Keep tension alive through near misses, mixed signals, and conflicting desires.

• Intimacy Levels: Decide how explicit or implicit the romance will be, and stay consistent with tone and audience expectations.

• Symbolism & Gestures: Use meaningful gestures, callbacks, or objects to deepen emotional impact.

8. Dialogue and Voice

• Use witty, emotionally charged, or vulnerable dialogue.

• Make each character’s voice distinct.

• Avoid melodrama; aim for authenticity.

9. Consent and Boundaries

Modern romance readers expect clear, enthusiastic consent, particularly in scenes involving physical intimacy.

10. Diverse Representation

Include different backgrounds, identities, and experiences to reflect real-world romance. Avoid stereotypes or tokenism.

11. Reader Expectations

If you're writing for a traditional romance audience:

• Happy or optimistic ending is usually non-negotiable.

• Know your heat level (sweet, steamy, erotic) and be consistent.

• Central Relationship: The romance must be the main plot. Other subplots (like mystery, career struggles, etc.) can exist, but the emotional journey of the romantic couple should take centre stage.

• Clear Romantic Arc: Start with attraction, build tension, add conflict, reach a climax, and end with resolution, usually a "HEA" – Happily Ever After or a "HFN" – Happy For Now. By the end of your story, one or both of your characters must make a meaningful decision that proves their growth and commitment.

FLEETING ENCOUNTERS: Emma - Arabella Sheen - Regency Romance - Excerpt 1

 

FLEETING ENCOUNTERS:

Emma

Arabella Sheen

 

Fleeting Encounters Series ... offers erotic Regency bedtime reading

 

A merchant’s daughter and a destitute nobleman. Can a marriage of convenience solve their problems?

Miss Emma Brentry is happy with life, but she feels the time has come to marry. Her father, a wealthy glass merchant, has expectations of grandchildren, and Emma doesn’t wish to disappoint him. Reluctantly, and somewhat halfheartedly, she begins the search for a husband.

Mr. Aaron Trent, a gentleman of noble birth, returns to England fresh from the Napoleonic war with a scar and limp to prove it. During his absence, his estate, Windhurst Hall, has been pledged by his cousin at the gaming tables. He is now in search of the necessary funds with which to buy back his home.

Traveling to Bath, Emma finds herself stranded on the road and is compelled to stay the night at The Stag and Hounds posting inn. She encounters Aaron, an attentive, handsome stranger, who offers her some much-needed assistance. Instant attraction is felt by both, and as dusk falls, Emma makes Aaron an offer he finds difficult to refuse.

With his pride standing in the way, can Aaron stay true to his principles, or will he, with reckless, passionate abandonment, succumb to Emma’s powers of persuasion?

 

Content Warning: contains explicit, sensual love scenes

 

 

Chapter 1

Miss Emma Brentry stood before the wooden door of The Stag and Hounds posting inn. The door itself was shut, but with a bright yellow stagecoach positioned in the inn’s courtyard and the loud noise of chattering voices emanating from the open, latticed windows, it was obvious the place was open for business and full with passing travelers.

Straightening her crumpled pelisse and adjusting her bonnet, Emma took a steadying breath, mentally bracing herself for what was to come. Never before had she entered a public tavern alone, but her situation was desperate and called for urgent action.

She was more than a little troubled. A young, genteel woman unaccompanied and on the open road was deemed outrageous, but entering a travelers’ inn without an escort was considered by some to be a far worse offense.

There was no doubt in Emma’s mind that should her father discover what she was about to do, his blistering wrath would descend upon her head, and his forgiveness would be hard to come by. But she had to chance his anger. Stranded near Corston, and with no immediate means of reaching Bath, she was desperately in need of assistance, and entering the inn seemed her only option.

That afternoon, Emma had been traveling the Bath Road. Having paid a visit to her younger sister in Bristol, she was returning to her father’s house in Bath and had almost reached her destination when her journey had been abruptly halted. A wheel on the barouche carriage had snapped, and with the spokes broken, she found herself to be at an impasse.

Unable to travel further, Emma had left her coachman to tend the horses, and she had retraced her steps until The Stag and Hounds had been reached.

The stagecoach standing before the inn was loaded down with heavy baggage, and by the steamy heat emitted from the horses’ flanks and nostrils, it was clear the vehicle had only recently arrived. Ostlers were busy tightening tack and bridles, and an air of frantic chaos permeated the cobblestoned courtyard.

Squaring her shoulders, Emma lifted the old, worn, iron latch on the door and boldly pushed it open. She entered. The noise overwhelmed her. Voices were raised and the incessant shouts for service from impatient travelers was almost deafening. The musky smell of smoke from the roaring log fire, along with the stench of stale alcohol that permeated the air, hit her.

Looking around, Emma tried to discern who amongst these hapless, disheveled persons could be the landlord, but it was difficult to tell. Having come in from the brightness of the sunlight outside, the darkness of the tavern’s interior hindered her search. Everyone looked more or less the same, and all the passengers appeared to be travel-stained and weary.

Emma bit down nervously on her bottom lip.

“What can I do for you, my good lady?” A short, thickset man approached. As he did so, he wiped his hands on his work-soiled apron.

“I am looking for the innkeeper,” she explained. A note of desperation trembled in her voice. She wasn’t used to rubbing shoulders with so many persons at once. The nearest she came to such a tight squeeze was generally when she attended the theatre or a gala ball of an evening, in Bath.

“You’ve found him.” A wide, near-toothless grin appeared, followed by a wink. “Can I get you something to eat or drink before the stage departs, miss?”

“No, thank you. Nothing for me. And I am not with the stage. I’m traveling with my own carriage, only we have lost a wheel and we are now at a standstill. Two spokes have snapped, and we dare not go any further. I wonder, can you give directions to a wheelwright?”

The innkeeper couldn’t know how much it had hurt her pride to admit she no longer had control of her life. Fiercely independent, and with a dislike of being reliant upon others, Emma was now seeking help. It went against the grain.

“Are you sure you don’t want something to drink?”

Emma hesitated. She was thirsty, but she didn’t want to linger too long inside the inn and draw attention to herself. It seemed impolite to refuse, but she knew that the sooner she left the tavern, the less likelihood someone would discover she had erred beyond the bounds of respectability.

“Umm…all right. Yes, please. A glass of lemonade would be very nice. But about the wheelwright…”

“I’m afraid you won’t have much luck finding a wheelwright in these parts, young miss. You’re just outside Corston, and our nearest wheelwright is in Saltford.”

“Saltford? But Saltford is miles away. Surely there is someone in this village who can mend my carriage wheel.” She was anxious at the thought no one might be found to fix the carriage, and she would be stuck in Corston.

The innkeeper reached for a tray on the counter. Collecting several empty ale tankards from a table, he placed them on the tray he held in his hand and shook his head solemnly.

“There ain’t anyone hereabouts with skills to mend a wheelbarrow, let alone a big thing like a carriage. We ain’t got a smithy either.”

“Then what am I to do?” Emma kept her voice steady. 

 

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About Arabella Sheen

Arabella Sheen is a British author of Contemporary and Regency Romance and likes nothing more than the challenge of starting a new novel with fresh ideas and inspiring characters.

One of the many things Arabella loves to do is to read. And when she’s not researching or writing about romance, she is either on her allotment sowing and planting with the seasons or she is curled on the sofa with a book, while pandering to the demands of her attention-seeking cat.

Having lived and worked in the Netherlands as a theatre nurse for nearly twenty years, she now lives in the south-west of England with her family.

Arabella hopes her readers have as much pleasure from her romance stories as she has in writing them.

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