The PEMDAS method for Self-Editing Your Novel
- bridget hosey
- Jul 3
- 9 min read
Similar to the PEMDAS order of operations in mathematics, this method for self-editing helps authors to edit their novel in a more efficient order.
If you’re reading this post, you must have at least a partially-finished manuscript. Congrats! That’s the hardest part over and done with! Now you need to take the words that spilled out as you were writing the first draft and form them into a fully cohesive story.
Take the words that spilled out in the first draft and form them into a fully cohesive story.
Even the best writers become overwhelmed by the intricacies of a novel. There are so many elements at hand; you must juggle multiple character arcs, you must create an authentic setting, you must maintain style and tone, you must use plot devices in a skilled way, and so much more! It is all too easy to get bogged down by these to-dos and end up spending hours in front of a computer only to accomplish very little.
I think we writers need an order of operations when editing. Inspired by the PEMDAS acronym commonly used to remember the order of operations in mathematics, I created a similar system for self-editing a novel. The goal is to work through the manuscript one letter at a time, only paying attention to the goal of that letter. It allows us to work more efficiently and to tackle the big picture elements first. Details of the PEMDAS system for self-editing are below:
‘P’ stands for ‘Prioritize Structure.’
Undoubtedly the first and most necessary step. Read through your novel to ensure that the overall structure is precisely as you want it to be. Think about these questions as you analyze the structure:
What is my story’s hook?
If I didn’t write this book, and instead found it at the library, would I keep reading past the first page? Yes or no? If not, you need to consider how to make the hook stronger.
What is the inciting incident? Can the main character(s) go back from the inciting incident? If yes, then you need to make the inciting incident stronger.
The inciting incident is an event that forces the character into action and one that the character cannot walk away from. Katniss volunteers for the games, Frodo inherits the ring, Harry gets a letter, Ove’s wife dies, Darcy doesn’t dance with Elizabeth. These are all examples of inciting incidents.
What world is my character thrust into as a result of the inciting incident?
What is the main character seeking throughout the story?
Katniss seeks to survive the games, Frodo seeks to destroy the ring while slowly falling prey to it, Harry wants to know more about and defeat Voldemort, Ove wants to die, Elizabeth wants to prove that Mr. Darcy is a proud man.
What hurdles does the MC face in pursuit of their goal?
There should be a lot of hurdles and they need to become progressively stronger leading to a climax in which the character will either a) achieve their goal (as in The Hunger Games or Lord of the Rings) or b) realize their goal was what they wanted but not what they needed (as in A Man Called Ove and Pride and Prejudice)
When does the antagonist (or antagonistic forces) appear? How do they contribute to the aforementioned hurdles?
If you are having trouble creating hurdles that feel compelling, then consider the main conflict of the novel. Is it man versus man? Man vs. society? Man vs. the environment? Man vs. self?
Is this conflict apparent at every turning point of the novel?
Does the middle of the story lag? If yes, consider using a plot device. They can be very helpful in keeping your story moving.
Is the climax strong? Is it satisfying?
If not, have you raised the stakes enough? If not, then raise the stakes as much as you can. Not just at the point of the climax, but gradually throughout the novel.
Raising the stakes does not necessarily mean to make the conflict more and more intense (although in some cases it does mean that). Stakes refers to things your MC will lose if their goal (or need) is not achieved. To read more about that, click here.
Does each chapter encourage the reader to keep reading? If not, consider using cliffhangers or other plot devices to keep the momentum going.
‘E’ stands for ‘Expose plot holes and inconsistencies.’
Once you have the general plot all fleshed out, go back through and this time examine the plot specifically for plot holes or inconsistencies. Again here is a helpful list.
Do you use any foreshadowing or flashbacks in your novel? Are they relevant to the plot’s climax or general plotline?
Make sure they are relevant so that readers will not be left wondering what the purpose of the foreshadowing or flashback was.
If you use any magic in your world’s setting, is this magic’s history or rules explained fully but also succinctly?
If readers are left with a patchy understanding of the magic system, they will likely feel that you used magic in a self-indulgent way–that you just wanted to write something cool rather than authentic. So, try to explain the magic (& especially its limitations) succinctly but thoroughly. Even better if your characters are constantly running into limits upon their own magical abilities.
Do the characters’ feelings stay consistent throughout the novel? Or if the plot necessitates that their feelings change, is there a reasonable and gradual reason that they change?
For example, if one of your characters has ranted for half the novel about how much they dislike so-and-so, don’t make that character fall hopelessly in love with so-and-so the next day.
Is your world consistent? This includes the climate, the seasons, the social environment, the rules of magic, and the intimate details of your main character’s world.
For example, if your main character was born in a blue house by a river, don’t write that they were born in a blue house by a mountain later in the novel.
Are your character descriptions consistent? Does a character have blue-green eyes in the first chapter but dark blue eyes in the last? Keep your descriptions consistent.
Likewise, if time passes in your novel, or if seasons change, you must share that somehow with readers.
Lastly, and most importantly, does the plot make sense? Are there holes in the plot?
Nothing is more disappointing to readers than a plain-as-day plot hole, so spend a lot of time on this one. Try to get outside of your writer’s mind and read it like a reader. And if you can’t find any plot holes, that is okay. If there are any, a Beta Reader or an Editor will surely make note of it when they work on your manuscript. But, it will save you some time (and money) to try and fix plot holes at this stage.
‘M’ is for ‘Meet your characters.’
After you have knocked your plot out of the park, it’s time to really master your characters. All those details you may have left out in the first draft should be decided now; this includes personalities, backstories, and (especially) growth. Even consider details that may not make it into the story. Doing so might feel like unnecessary work, but it will give more authenticity to your characters.
First, determine all the details of your characters’ personalities that you can. Include as many details as you can, even extraneous ones. Take time to really meet your characters.
Are they introverted, extroverted? Are they good at sports but bad at dancing? Are they a people pleaser? Many of these details may have been decided prior to writing the first draft, and if they were then move on to the next question.
Then ask ‘why’ are they like that?
For example, if a character is a fierce defender of women’s rights, why are they like that? What happened in their past that made them feel this way? If they are angry, why are they angry, what was their childhood like? If they are happy all the time, why? Asking ‘why’ will allow you to get to know your characters on a deeper level.
Are the characters both similar and different from each other in a way that feels authentic and true to life?
Does each character have their own distinct speech style? Is this reflected well in the dialogue?
They don’t need to be extremely distinct from each other, but they should each have a slightly different verbal fingerprint.
Then, consider each character’s role in your story. Consider each character’s beginning and ending, and ask yourself if they change.
Your main character should absolutely change and grow throughout the novel. This should really go hand-in-hand with discovering their need juxtaposed against their want. But other characters should not remain static either.
Make notes about your main character’s character arc. What do they want in the beginning? What is their want or initial goal? What is their need? How do they strive to achieve their wants? How do they change as a result? How do they end up getting what they need? Does their journey feel satisfying?
‘D’ means ‘Don’t forget tone, voice, and style.’
Think about it. Your favorite authors all have their own particular voice, their own style. And their tones will vary depending on the type of book they’re writing, its themes, and its plot. Now, this is something we newbie writers may not master for years, BUT, try cultivating your own voice even now. Make sure every word of every line of every chapter meshes with exactly what you want to say and how you want to say it. Pay attention to the following questions:
Is your Point of View consistent throughout the novel? Or, if it intentionally differs from a typical POV, is that consistent?
Does each chapter or scene have an intended tone? Your entire novel should have varying tones, but these should all be symbiotic with each other.
For example, in To Kill a Mockingbird, there are tones of despair paired with reminiscence. This works because the content is upsetting but it’s seen through the eyes of a young girl remembering a lesson learned in her childhood. If your novel has multiple tones (and it should) do these work well with each other and with the story you’re telling?
Is your own voice consistent throughout the novel?
Whatever your voice is; refrained, loud, proper, romantic, try to keep this constant. And if you do not know what identifies your voice from others’, then just keep writing. You can even try writing pieces of your manuscript from other characters’ perspectives. Find the common voice between them. An artist friend once told me that the only way to find your unique voice is to write and write and write - that voice only becomes identifiable with multiple artworks. So it may take time, but try to hone in on that voice & keep it consistent.
Lastly, style. Style refers to your own habitual grammar choices, syntax, word choice, sentence-length, etc. Keep your style consistent.
For example, If you hate the oxford comma, that’s fine. Don’t use it, but make sure that choice is consistent throughout your manuscript. If you tend to use the passive voice, that is fine, but make sure each sentence is clear. We do not all need to write like Hemingway, but figure out what stylistic choices you prefer, why, and make sure those choices are consistent throughout.
‘A’ is for ‘Admit there is filler, and CUT. IT. OUT.’
Okay, take a deep breath. You ready? Your novel almost definitely has filler and unnecessary language. Don’t worry. It’s better to have too much than too little. You’ve got a lot of words to work with. Now, you need to start cutting out the unnecessary bits.
Is every moment of your novel purposeful to the storyline? If not, sayonara.
Is every line of dialogue necessary?
Have you info-dumped about the world or setting or background of the characters?
(Please don’t pull a Victor Hugo and rant about the sewers of Paris for 50 pages! lol!) How can you fit that information in more concisely and smoothly into dialogue or elsewhere?
Have you spent unnecessary time describing scenes that could do with less description or more succinct description?
Does every chapter drive the narrative forward?
Do you have any syntactic or grammatical habits that create longer sentences than is necessary?
For example, many people end their sentences with prepositional phrases or even have multiple prepositional phrases in one sentence! Don’t do this to your readers, trim it down!
Are there any places that you’ve written for yourself rather than your readers?
For example, did you write 15 paragraphs’ worth of your MC’s inner dialogue while they did their morning routine? It may have helped you to get to know your MC, but your readers will yawn and put the book down.
It is vital that your book be as short as it can be. There’s a reason first-time novels are typically 100,000 words or less. They’re more likely to sell that way. So, whether you are self-publishing or publishing traditionally, trim your novel down. You’ll thank me later.
‘S’ means ‘Sit back & Find a Beta Reader.’
Finally, you did it! I know that was a long process, but now you get to reap the rewards. It’s time to find a beta reader. YAY! You can get fair, objective views about your novel from the sort of folks who will actually read it one day!
Please try to get Beta Readers who are not friends or family. You need honest and helpful critiques that will help to make your novel the best it can be!
Follow these links to find a Beta Reader:
Free if you critique someone else’s manuscript:
Social Media Sites like Facebook and Instagram:
Search using #BetaReaders and #WritingCommunity
Libraries, Bookstores, or Community Centers:
These may have Beta Reader Volunteers, depending on the size of your city.
Paid Services:
https://www.inkstainsediting.com/product-page/beta-read & me! I offer Beta Reads starting at just $12. For more information, click the link.
After finding a Beta Reader, put your manuscript away completely. Don’t look at it! Don’t even breathe around it! 😂 There are two reasons for this, 1) you need to be mentally refreshed before starting line editing and 2) a break will help you to have fresh eyes when you do go back to your manuscript.
So sit back, relax, read a lot, walk a lot, sleep a lot. Line edits are probably going to be exhausting. So relax and get ready for the long haul of line editing.
I wish you the best of luck with your writing & editing!
-Bridget
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