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Delivering—and Receiving—Negative Feedback in a Constructive Way

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Constructive feedback (often seen in the writer’s head as negative feedback) is a hard pill to swallow. Nobody wants to be told the story they’ve devoted hours, months, even years toward isn’t perfect. On the other hand, most people don’t like telling someone their writing has problems. If you try too hard to spare someone’s feelings, you could be doing them a disservice, and yet if you completely crush their hopes and dreams, you may be denying others the chance to read a story that could have gone from okay to great based on your feedback. So what’s a reader to do? It’s all about the give and take. We spoke to some of the awesome editors here at Eschler Editing and compiled this list to help make your next critique session a little more successful.

How to Take Feedback

You’ve already made yourself vulnerable by putting your work out there for someone else to read. But what do you do when the shining praise you were hoping for comes back as a red-ink massacre? Getting negative feedback is never fun, but most of the time it’s the best way to take your writing to the next level. Here are five steps to help you take feedback like a pro:

  1. Chocolate cake. No, seriously. Being told your baby isn’t good enough hurts. It’s okay to wallow in a little chocolate cake to help you get through that.
  2. Okay, now that you’ve had your cake, it’s time to turn off your emotional brain and be a computer. Become Vulcan. Don’t assume that just because someone said something isn’t working they think you should never write again. Look at the advice in a logical manner.
  3. Give yourself 10 percent veto rights. Plan on taking at least 90 percent of feedback constructively, but feel free to allow yourself 10 percent you get to hold strong to (see tip 5 for exclusions to this rule). You don’t have to change every single thing someone tells you to, but you are definitely too close to your story to not give feedback serious consideration.
  4. Look at who’s giving you the feedback. Have you ever watched a cringe-worthy singer on a competition show proclaim they’ve been told how wonderful they are? They probably aren’t lying. If you have only ever gotten positive feedback and then someone comes forward and tells you your story has problems, your first inclination might be to dismiss that advice. But before you do, look to see where previous positive feedback has come from. If the only people who have read your story are your mom and best friend, you may have to consider that they might have been trying to spare your feelings or are just as close to your work as you are.
  5. If you’ve hired an editor, communicate clearly what kind of editing service you’re expecting. Make sure they understand whether you want a copyedit or a developmental edit. Once you’ve been given feedback, decide if there is something to this advice. If you have paid a professional to edit your story, know that they are going to give you their best advice to fix it. They are not just looking for things to tear you down. Additionally, if you send your story out to a group of people and you get a comment more than once, that’s a good sign there really is a problem, and you need to accept it and be proactive in coming up with a solution.

How to Give Feedback

Now that you know how to take feedback like a pro, it’s time to practice giving it. If you’ve asked for feedback from another writer, they are most likely going to ask for yours. Here are our five best tips to make negative feedback a positive experience:

  1. What are they looking for? Before you critique or edit a manuscript, ask the author what they hope to gain from your feedback. Maybe they have edited it to the ground and now all they care about are periods and commas. Maybe they want to find places where they can cut out words and not kill the story. Maybe they just want you to tell them what you liked. Knowing what they expect can be helpful as you begin to edit.
  2. Think “sandwich.” No, this isn’t just here to counter the effects of the chocolate cake! It’s important to not only give them negative (although potentially useful) feedback. Instead, try to sandwich it between two positive comments. Always start with something positive that you see in their writing or story before you tell them what they need to fix, and then give them a positive benefit on why taking your advice will make their story stronger (i.e., I really like X character and his role in the story. I would love to see him come out of his shell and really stand up for himself against his boss. I can really see him becoming a memorable character with this sort of growth arc applied to him). You need to sell them on it.
  3. Explain your editing style in a brief tutorial and how they can use it to strengthen their book. I edit like Orson Scott Card taught me by asking three questions: “Huh?” “Yeah, right!” and “So what?” (Huh?=I don’t understand what is going on, or I’m confused about what you are trying to say; Yeah, right!=I don’t believe this in the context of the world this book takes place in; So what?=I am unsure why this information is relevant to the story, or I’m losing interest in the story.) These are the things I look for when going through a manuscript, but if you only saw those things without any context, they might seem a little harsh. I always make sure my manuscript edits are accompanied by a style guide so the author can get into my frame of mind when reading the edits. Other editors may have a different style (such as color-coding, explanatory notes, or asking a lot of focused questions the author must address).
  4. Don’t just tell them it’s wrong or doesn’t work. There’s a fine line here. If someone has asked or paid you to edit something, they probably don’t see the problems themselves and are hoping for feedback on how to fix things. Try to offer helpful suggestions when you can. However, you also don’t want to make their story yours. If you tell them exactly what they need to do to fix every little thing, in the end, who really wrote the story? I like to find a middle ground. Sometimes I expand on why things didn’t work and give possible solutions. Sometimes I just say this isn’t working for these reasons, and rather than offer solutions, I offer to brainstorm with the author; this allows them to ask questions and get my take on things they may agree with but are unsure how to fix.
  5. Make sure they know when something is a personal opinion/preference versus an industry-accepted convention that will stop publishers or agents from picking the book up or that will be a turnoff to that genre’s readers. If they’re starting their first chapter with backstory, you can cite several articles on why this should not be done. If their main character uses the word “fetch” way too much, that’s opinion. It’s okay to have opinions, but you should always let the author know what may keep them from getting published versus what just really annoyed you (keeping in mind that if it annoys you, it might annoy another reader at some point).

Feedback is important. It’s how an author learns and grows. Even best-selling authors seek feedback to make their manuscripts stronger. They say you can’t edit your own story—and that’s absolutely true. Having another set of eyes (or five sets) is imperative to your writing. Don’t think of negative feedback as a sign you should quit but as a powerful tool that can help you become a more effective writer. Feedback is an asset for the person on the receiving end. If you remember to give feedback with kindness and sincerity and accept it without being defensive, you just may find your writing career reaching new heights.

Do This Now

  • Write down two or three ways you would like to hear constructive feedback so you can help your readers know what you’re looking for.
  • Decide you’re going to look at feedback as something meant to help, not harm.
  • Find some beta readers and editors whose opinions you trust.

We would like to thank Sabine Berlin, Sandra Larsen, and our friends at Ever Editing for allowing us to share this article with you. To read the other great articles they’ve written, click here.

Headshot of Sabine Berlin

Sabine Berlin

Editor

Sabine Berlin is an avid reader of everything from Asimov to Zusak. She has a degree in history, writes YA fiction, and was selected to attend Orson Scott Card’s Literary Bootcamp, where she studied writing and critiquing. She edits full-time for a local university and has worked with Eschler Editing since 2012. She invites you to visit her blog.
    Headshot of Sandra Larsen

    Sandra Larsen

    Editor

    Sandra Larsen is an intern at Eschler Editing. She graduated from UVU with a bachelor’s degree in English and has spent the last decade or so raising four lively children. Sandi is thrilled by the opportunity to join the Eschler Editing team. She has a passion for reading any book she can get her hands on and especially loves discussing books with others. She is learning a great deal about the editing and publishing world and is grateful for any and all experiences she will continue to have.

      Catching Up to AI

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      The title of this piece is audacious. Is it possible to “catch up” to artificial intelligence? What does that really mean?

      It’s easy to become fearful that AI will take over the world, making human beings obsolete and eventually extinguishing us. But many secular and religious leaders are finding ways to embrace AI while working to establish adequate guardrails and fail-safes.

      Checks and Balances

      The concept of AI verifying AI activities, such as professors using AI tools to check student homework for unapproved AI usage, reminds me very much of how we humans must check each other as we seek mutually beneficial arrangements for societal interactions.

      According to James Madison in Federalist No. 51:

      It may be a reflection on human nature, that such devices [checks and balances] should be necessary to control the abuses of government. But what is government itself, but the greatest of all reflections on human nature? If men were angels, no government would be necessary. If angels were to govern men, neither external nor internal controls on government would be necessary. In framing a government which is to be administered by men over men, the great difficulty lies in this: you must first enable the government to control the governed; and in the next place oblige it to control itself. A dependence on the people is, no doubt, the primary control on the government; but experience has taught mankind the necessity of auxiliary precautions.

      Interesting, but not surprising. Humans are the creators of AI, so it stands to reason that the same checks and balances needed for us are needed for our AI tools, especially as they become more agentic.

      Keeping Fluent

      The word “agentic” requires a brief pause for some definitions. If we’re going to participate in the conversation, we need to understand the language. Here are a few terms we need to familiarize ourselves with regarding the current capabilities and limits of the technology:

      • Agentic AI – AI that autonomously plans, reasons, and acts toward goals
      • LLM (Large Language Model) – AI trained on vast text reservoirs to predict the next word (e.g., Grok, ChatGPT, Gemini, etc.)
      • Multimodal AI – AI that handles text, images, audio, and video
      • Emergent Abilities – Skills that appear unexpectedly (e.g., ChatGPT-4 suddenly solving math)
      • RLHF (Reinforcement Learning from Human Feedback) – Human-ranked outputs that lead to model improvements (used in Grok, ChatGPT, Claude, etc.)
      • Hallucination (also called False Correction Looping) – AI fabricating false information when it can’t find valid sources to fulfill its prompt
      • Authority Bias – AI using ranked sourcing to determine outputs, effectively siloing users into echo chambers with decreased exposure to valid alternatives
      • Novel Hypothesis Suppression – A process whereby new discoveries are deemed improbable by algorithms and then over-critiqued or excluded
      • AGI (Artificial General Intelligence) – AI that can perform any intellectual task a human can; currently hypothetical
      • ASI (Artificial Super Intelligence) – AI vastly smarter than humans in all domains; currently hypothetical

      Some of those prospects are a bit daunting in their implications, but panic will not help us. AI is not, and cannot become, God—the true “Intelligent Designer.” Once we better understand that a loving, interested God created us in His image for a powerful, eternal purpose with a vast—mostly untapped—potential, we will realize that AI should be neither feared nor abused.

      The Response of Faith Leaders

      An apostle of The Church of Jesus Christ of Latter-day Saints, Elder Gerrit W. Gong, is helping oversee the evolving role of AI use in sharing faith-based messages. While attending the Rome Summit on Ethics and Artificial Intelligence at the Vatican on October 21, 2025, Elder Gong declared:

      Portraying faith traditions accurately or respectfully is not an imposition of religion on AI. Rather, it is a public necessity. It is especially needed as increasing numbers of individuals ask AI about faith and belief, and as AI becomes a primary source of information about faith traditions.

      Furthermore, he affirmed, “We do not fear AI, nor do we think AI is the answer to everything … AI is neither the sum of, nor the solution to, all our opportunities or problems.”

      Job Market Impacts

      As an author, I have some obvious concerns about AI “taking over” my industry space. It’s already making inroads in books, painting, music, movies, and other creative fields.

      At the same time, AI is changing the job market more broadly. It is already automating routine work such as data entry, customer service, administrative tasks, and bookkeeping, while creating new roles involving things like prompt engineering, AI ethics, and managing AI systems.

      The World Economic Forum projects that by 2030, AI and other technological changes could displace 85 million jobs while creating 97 million new ones. I’m a little dubious about whether the numbers will really work out that neatly, but history suggests that major technological upheavals can eventually create new opportunities as well as eliminate old ones.

      Obviously, things are still evolving, so the target keeps moving. New guardrails are being created by industry groups, governments, and others, and it will be interesting to witness—and participate in—how all of this shakes out over time. Progress is never easy, whether in society or in our personal lives.

      Conclusion

      Perhaps “catching up” to AI isn’t really about knowing everything AI can do. That may be impossible. It may be about making sure that as the technology advances, we don’t leave our human judgment, creativity, ethics, and responsibility behind—or forget that our worth and purpose come from something far greater than our productivity and efficiency. AI may change how we work and create, but it doesn’t have to determine who we are or what we value. If we can use AI without allowing it to use us—or define us—we’ll discover that this disruption brings not only challenges, but opportunities.

      I’ve challenged myself to become more conversant with AI. My intent is to become part of good, meaningful solutions, and my eyes are wide open to the fact that this journey will be both challenging and long. Not all that long, though. This technological revolution is moving much faster than previous ones, so keep those seatbelts tightened.

      A headshot of Michael House

      Michael House

      Author, LDSPMA President

      Michael House is an author (pen name M.D. House) and business professional who discovered LDSPMA in 2022 and immediately determined to become involved in such an impressive organization that was making a real difference in sharing the light of Christ throughout the world. He became president in October 2024 and continues to be amazed by the number of wonderful, talented people he gets to meet and work with in this role.

        Melody J. Williams: Finding Light Through Writing

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        Melody J. Williams is a mother, author, musician, and ice cream lover who draws story ideas from everyday moments. She often pauses to write down nuggets of wisdom that could be included in a book, even when she isn’t certain how to incorporate them. “I get [inspiration] all the time, every day, from everywhere,” she says.

        “I’ve learned that I don’t have to be any one thing. When I was growing up, I didn’t really know what I wanted to do. And so I was kind of lost for a while. I ended up getting married, and then I quit going to college because we couldn’t afford it, and I still didn’t really know.”

        Yet even before she knew what form it would take, Melody remembers wanting to create something of her own.

        Today, Melody writes in several genres, even though she didn’t always want to be an author. As a child, she didn’t enjoy reading much. When her parents took her to the library, she preferred pop-up books over novels.

        Melody found her love for reading while expecting her first child. Doctors placed her on bed rest, and people brought her books to help pass the time. Her love of romance novels sparked a new idea. Why not write the story of how she and her husband fell in love? She drafted the first chapter but eventually put it aside. It was a fun experiment, but she didn’t see herself as a writer yet.

        Finding Joy amid Heaviness

        Years later, writing became more than a hobby. It became Melody’s comfort during the hardest time of her life.

        Melody and her husband had four sons; their youngest, Callen, became very ill as a baby. He contracted bacterial meningitis and had a stroke, which caused severe brain damage. He survived, but his need for specialized care changed their lives.

        Callen is now seven, but as Melody explains, he has the cognitive development of a newborn in a bigger body. He relies on his family for feeding, changing, moving, and exercise. Melody calls him an amazing little spirit. While caring for him has made her life richer, it has also brought many challenges.

        That’s where the writing came in.

        When her three older sons began attending school, Melody spent long, quiet hours at home with Callen. She loved being with him, but struggled to know what to do with herself. Writing helped her find joy and heal from the heaviness that “was sucking away the life in me and just making me sad.”

        She published her sweet rom-com Stealing Mackenzie’s Heart in 2024. “It just made me so happy,” she says. “I put a side character in there who was a version of my son Callen as an adult because I don’t know if he’s going to live to be an adult, but I can have this [story] forever, and I can share him with the world. His love and light are so unique and so special.”

        Being able to act as Callen’s mouthpiece has made Melody believe even more in following inspiration. “Write your stories. They matter. They’re important. Your thoughts matter. It makes a difference. Someone will relate—someone who needs to hear what you have to give.”

        ​Winning a Spark Award

        Still, writing comes with its own challenges. “It’s hard to get past that imposter syndrome and self-doubt,” Melody says. Rejections and negative reactions from readers felt dream-crushing. “I didn’t know if I was good enough, but . . . I would eventually get over the sadness of [criticism] and ask, ‘What can I change? What can I learn? How can I grow?’” Those questions helped her push herself to be better.

        Stealing Mackenzie’s Heart later won an LDSPMA Spark Award. At first, Melody didn’t plan to attend the award ceremony. She reasoned that she couldn’t leave her nursing baby or afford the travel costs while her family was building an addition to their house.

        But her mom stepped in and told her, “No, you’re going. This is important.” She organized a donation drive to raise money for a plane ticket and a new dress.

        “It was the sweetest experience to feel so much love from so many people supporting me,” Melody recalls. “It was lovely to attend that dinner and award ceremony. I’m just so grateful I got to have that experience.”

        Even after winning the award and receiving great reviews from readers, Melody still doubted her talents. “Maybe I’m not good enough to keep doing this,” she remembers thinking. 

        Prayer and divine reassurance reminded her of why she had felt inspired to write in the first place. “It’s kind of like receiving a hug from Heavenly Father.” Sometimes she is amazed that God cares about her creative work, but she has repeatedly felt His assurance that He is shaping her through the process.

        Balancing Creativity and Motherhood

        When Melody first started writing, she loved escaping into fiction and spent hours on it every day. She told her husband, “This is important. I need to do this.” He supported her, but Melody later worried that writing could take up too much time. Then two more babies (“Daughters, finally!”) joined the family, making it even harder to find spare time. 

        Being a mom was Melody’s whole world, but it wasn’t her entire identity. Even though she went to church, served others, and tried to do everything right, Melody realized she still needed a creative outlet to recharge and feel fulfilled.

        Now she recognizes when she’s neglected her creativity for too long. Sometimes her dad watches the kids for a few hours so she can write.

        “I just feel uplifted in a way. Like, okay, I can do this. I can handle my life again.”

        You Should Try to Write a Hymn

        That willingness to create when prompted eventually extended beyond books. Even before she considered herself a writer, music was part of her life. “Obviously, my name is Melody—how could I not love music?” she jokes. “Piano and singing are some of my favorite things. My parents instilled that in me from a very young age.”

        One day, Melody received a clear spiritual prompting: You should try to write a hymn.

        At first, she doubted the impression and wondered why she was being prompted when others seemed more talented and experienced.

        But the prompting returned three times. Finally, Melody decided to try.

        One Sunday evening, she prayed: “Heavenly Father, if You want me to do this, please help me.” She turned to Mosiah 4:9 and read: “Believe in God; believe that he is.” Inspired by that scripture, she decided to write about the Godhead and why she believed in Heavenly Father, Jesus Christ, and the Holy Ghost.

        Within about an hour and a half, she had composed a tune and written three verses. Over the following week, she added a verse about the prophet. She eventually submitted the hymn for consideration for the Church’s new hymnbook.

        It didn’t matter whether her hymn was chosen for publication. What was important to Melody was learning she could follow a spiritual prompting, do something hard, and receive help beyond her own abilities.

        Creating with God

        As Melody learned how much creativity belonged in her life, she began to recognize that the desire she feels to create isn’t hers alone.

        “It’s really been a big blessing in my life to try to pick up on these little nudges of inspiration and just go for it, and have it be something beautiful.”

        Her latest nudge was to start a nonfiction book. At first, she didn’t feel qualified to share her wisdom. But after reading her journals, she realized her experiences might help others someday. Writing about real trauma is harder than making up stories, but she knows the heavier stories matter too.

        Through all the highs and lows life has presented, Melody has learned to follow spiritual impressions without knowing exactly where they will lead. She emphasizes that creative work has value, no matter how big or small the audience.

        “If you’re inspired to do something, do it. Just try.”

        This article is based on a Called to Create podcast aired season 6, episode 5. To hear the full podcast, click here.

        When Is Fair Use Fair?

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        Writers love quotes, songs, and funny or inspirational images. What word-nerd doesn’t? We tape them on our mirrors, dashboards, and walls and post them to our websites. We like them to set the tone for our novels, start our nonfiction chapters off with inspiration and insight, and add authority to our own ideas. But many writers are never quite sure what’s safe to quote—how much, and in what contexts? Are there instances when you can safely borrow material that belongs to someone else without infringing on their copyright? And what happens if you do—accidentally, of course—infringe on someone’s copyright?

        Well, it’s not pretty if you happen to use material from someone with deep pockets and powerful attorneys. Using quotes, songs, images, or others’ intellectual property cited, used, or paraphrased in your book (images may include cartoons, comics, photos, stock art, graphics, memes, charts/data, etc.)—without copyright-holder permission—can result in lawsuits that result in a loss of hundreds of thousands of dollars (or more, in some cases) and limit your brick-and-mortar store distribution opportunities.

        While you should always seek official legal counsel (from an expert in intellectual property law) before you use quotes, scenes, songs, images, etc., in any of your for-profit/for-fundraising works, we can give you a simplified answer to the basic questions above and where you need to start looking to make sure you’re square with the law. There’s even a software out there to help you determine if your quoted material is likely to fall under fair use or not. If you’re still unsure about what you can fairly use after reading this article, the best practice is to follow the old adages, “better safe than sorry” and “when in doubt, go without,” as evidenced by the myriad court cases that have come about when folks thought  that they were doing it right. (Or you can call in a favor or write a check to that local lawyer and get the nitty-gritty answers to your questions.)

        Public Domain

        The doctrine of fair use addresses what can be copied: You can copy material to your heart’s content if it’s general public domain. This basically refers to material that is “outdated.” Any work published before 1927 is free game (as of 2023, when this was updated; each year after 2023 adds one year forward in time to the public domain cutoff, making more items published after 1927 accessible for use—depending on what year it is when you’re reading this), and any work after 1967 for which the copyright was not renewed is also free game. And some authors/artists have published works they want to share, which they have declared as public domain.

        Outside of public domain, you can’t use others’ ideas as the crux of your own argument in nonfiction, but only as support, and it’s smart to avoid using more than a few lines (and, if you’re worried, get permission even then). In many cases, the copyright holder is happy to have their work shared more broadly and will grant permission with no strings attached. Just be aware that if you’re producing a for-profit work, you’re at risk of someone’s right to sue if you have no permission to use the quoted material/IP. Here is a handy reference defining public domain in its many arenas. And a critical resource for parsing out everything copyright related—for writers—is The Copyright Handbook by Stephen Fishman, JD.

        For-Profit Works

        Back in the day, fair use allowed one author to use another author’s work in creating their own work if the total amount borrowed was within reason, even if the borrowing author’s book sold thousands of copies. Today, every fair-use violation is examined on a case-by-case basis determined by the rule of thumb that fair use not diminish the “potential market for or value of the copyrighted work ”  (U.S. Code, Title 17, Section 107). According to the code, “There is no specific number of words, lines, or notes that may safely be taken without permission.” In sum, if you use someone else’s ideas in your book and then you make money on your book, the copyright holder might feel he/she were owed royalties/payments for the borrowed ideas—arguing that those ideas helped popularize your book in the first place. Acknowledging the source of the copyrighted material does not substitute for obtaining permission.

        When Fair Use Is  Fair to Use

        The above said, fair use is supposed to protect the advancement of the arts, sciences, scholarship, commentary and criticism, etc., so the principle generally allows quotation of excerpts in the following cases (when you are):

        • Writing news reports.
        • Doing a review or criticism.
        • Teaching (must be nonprofit, face-to-face).
        • Writing research (these must be “short passages”; refer to a journal’s style guide for specific guidelines).
        • Producing parody.

        In general you will find that organizations and publishers have their own rules based on experience (including lawsuits), the advice of lawyers (who we hope keep up on policy changes), and codes of ethics. For example, the American Psychological Association (APA) declares that copyright holders define what they consider fair use and that the responsibility for getting permissions lies with the user (APA style, 6th ed., section 8.04, p. 233; see also sections 1.10 & 6.10).

        Obtaining Permissions

        Authors should demonstrate a reasonable due diligence, or take steps to satisfy the legal requirements, in using copyrighted material.

        The first step in obtaining permission is, of course, to determine who the copyright holder is. This is usually a publisher or producer. Next, contact the copyright holder. Publishers, authors/artists often have a form on their websites where you can request permission to quote something by typing exactly what you’re quoting and in what context. After that, you may need to negotiate payment with the copyright holder (sometimes permission is granted freely, sometimes at a cost—and sometimes copyright holders don’t reply for months). Finally, be sure to get your permission statement in writing; email counts.  If you never hear back after several varied attempts to contact someone, keep the quoting to a minimum and make sure you aren’t using the idea as the crux of your argument (or that you’re using their idea in a way that sounds like it’s your own idea). Also, you’re safest to avoid using the quote in a compendium. And most importantly, make sure to keep records of your attempts to gain permission. As a reminder, please know that that there is no completely safe number of words or images you can use in a for-profit work without permission. If you do not have permission, you are risking the possibility of a lawsuit if the copyright holder feels motivated to pursue one. Bear this in mind in your attempts to stay within fair use.

        Cautions for Violations We See Frequently

        There are some fair-use violations we see frequently in the book-publishing world. The most common violations with quoted material are authors not properly citing sources for quotes and paraphrased material—and not getting permission to do so even when cited. A second problem we see often is when authors use others’ ideas as the foundation of their argument or point rather than as additional support for their own ideas. Or the author’s point seems to be merely a rephrasing of another author’s work with no original angle or purpose. In addition to those main problems the following items require some caution as well:

        Songs and images:  Use caution in quoting lines from songs and such. Publishing houses are super careful about using even one line. Self-publishers take on a significant risk in quoting lyrics without permission. Permission to use lyrics is often granted by the copyright holder—with the expectation of payment or a percentage of the royalties you make. Use of lyrics does not generally come cheap. If you’re looking for permission, check out these organizations that represent composers, writers, and publishers and advocate for performing artists: ASCAP, BMI, and SESAC.

        Images (cartoons, graphics, stock art, photos, comics, drawings, memes, etc.) are also often available when you’ve sought written permission or paid for usage rights. However, understand the limitations of your usage rights. The copyright holder may be fine if you use it on a blog, but not fine if you use it in a for-profit work (like a book, inside or on the cover). Or your rights may have limits—you can use the image at x price for up to so many copies sold, but then you’ll need to pay more for copies after that. Or there may be time limits or other boundaries on your usage. Make sure you are crystal clear on when, how, and for how long you may use the material, and get that permission in writing!

        Quotes from LDS Authorities:  Since a portion of our authors publish in the local LDS market, a word to the wise for authors quoting LDS Church General Authorities, or any material found on LDS.org: The Church is extremely careful about accuracy in quoting and attribution (and, additionally, doesn’t want quotes from Church authorities to be mistaken as an endorsement of any particular book), and consequently there is no fair use as far as the Church is concerned; anything ever uttered by a General Authority and anything ever printed in a Church-owned publication (like the Ensign ) is owned by the Church, and you have to get permission from them to use it—even if it’s just a phrase or a sentence. The Church is most concerned with authors quoting current authorities, and possibly somewhat less vigilant about very short quotes from long-deceased authorities (keep them under 200 words); however, the Church still prefers authors get permission for any quotes. Lastly, when it comes to quoting scripture, the scriptures themselves now fall under a renewed copyright and are not public domain (unless you are quoting from a version published before 1923 or simply quoting the King James Bible); this copyright protects footnotes, the Bible Dictionary, headings, and maps (and any other modern additions to the standard works). Additionally, distributors that can help get your book into brick-and-mortar LDS stores generally will not accept titles that have not gone through Church approval (if you include quotes, images, songs, etc., from Church-owned materials).

        If you want to use Church-owned material, you have to fill out forms and formally request permission; you can do this through the Intellectual Property Office. This includes listing every scripture/quote you’d like to use and their page number, in addition to turning in the manuscript/book for review of the context around your quote. Know that it can sometimes take up to 45 days to get a reply, though many authors have reported a faster response time; so plan as far out as possible in order to avoid delays in publication.

        (As a final reminder, this fair-use discussion applies to for-profit works; if you are publishing a book and selling it, that’s a for-profit work.)

        Do This Now

        • Run your proposed use of the copyrighted material through a fair-use evaluation tool, which can help you determine if you are abiding by fair use. As of this posting, it’s totally free (and extremely helpful). Please note, however, that this tool is used as an educational resource and not as a substitute for legal counsel.
        • To get a sample of a permission letter and to learn even more about fair use, check out this incredible resource from Jane Friedman.
        • Get a copy of The Copyright Handbook by Stephen Fishman, JD.
        • Be sure to go through your upcoming work with a fine-tooth comb for any quoted material you intend to use; start working on getting permissions now  so that your work doesn’t get put on hold while waiting for permissions. If this seems like a tedious prospect in addition to everything else you’ve got to do, you can hire a personal assistant to do the grunt work!

        Sometimes great wordsmiths say something in a way no one else can. It’s nice to be able to use their insight, but make sure it stays their  insight. Enjoy your quotes, but choose wisely as to what you share in your for-profit works.

        Resources:

        This article was written by Michele Preisendorf with Angela Eschler and was republished with permission from Eschler Editing.

        Headshot of Michele Preisendorf

        Michele Preisendorf

        Senior Editor, Eschler Editing

        Michele earned her BA in English from Brigham Young University in 2002 and has worked as a freelance editor for several publishers over the last twenty years, helping hundreds of authors polish their prose and get their messages published. She’s been with Eschler Editing since its inception and has worked as an editorial-production manager and instructor for those wishing to improve their editorial skills. One of the things she loves most about her work is perfecting prose in a way that readers are able to focus on the message and not even realize they’re reading!

          When Your Brain Needs a Vacation

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          Vacations are lovely things—and we all want one. Even if you don’t think you do, you do. But even on a holiday excursion, it can be hard to get our brains to unplug. I just spent a week in Hawaii, and while many wonderful things happened, there were also some stressful and frustrating moments. I felt like my brain could use a break from my vacation!

          Sometimes we just need a mini-vacation for our minds—no airfare or luggage required. As someone who struggles with OCD, anxiety, and depression, I’ve learned a few tricks to help me decompress. Here are five ways to give your brain a reset:

          Take a Break from Screens

          We all have small screens in our pockets or purses at almost any given moment. Many of us work in front of screens—I’m staring at three as I write this. Airports and restaurants have them everywhere. Even cars have screens nowadays. We’re surrounded by them. These devices can help with virtually everything, but they can also be detrimental to our health. Studies have shown that excessive screen use can interfere with both brain function and sleep. 

          It can be helpful to take breaks from all those screens. What does this look like? Maybe it means ignoring social media for a day … or a week. Perhaps it’s leaving your phone in the other room while you work or spending a day outside. Maybe it means taking your family for an evening bike ride instead of sitting together while everyone looks at individual gadgets and the TV plays in the background. Find a way to unplug.

          Take a Reading Day

          When I was in college, right before finals week, we scheduled “reading days”—time set aside to study and prep for exams. I always wished those days were actual reading days, so I sometimes took a day to read a book purely for pleasure. It may sound lazy, but taking a break from rigorous study can be good for your mental health. One of the best ways to recharge your brain is to get lost in a good book. I’d recommend choosing a physical copy or putting your phone in airplane mode while reading or listening on your device to avoid distractions.

          Reading lets you experience the world through other points of view and empathize with people you may never meet. And, you know, sometimes it allows you to fly with dragons or speak to penguins. Reading is magical. 

          I’ve found taking an occasional reading day can be super beneficial for my work. I return to my desk more invigorated, with new ideas swimming through my brain. So visit a bookstore or your local library, choose a book that draws you in, and spend the day reading. 

          Try a New Art Medium

          I’ve written about this before, but one way to break out of a creative rut and reset your mind is to experiment with different art mediums. There are tons of super cute crafting kits for beginners. You could make a favorite character from yarn or clay, or try a paint-by-numbers project. Choose something low-key and stress-free.

          You can even put on some music or an audiobook for a soothing soundscape while you work.

          Meditate

          I’ll be honest: I have yet to master the Jedi way of sitting down and communing with the Force. I took a meditation class in college and spent half the class napping and the other half dreaming up stories. Meditation is supposed to slow your mind so you can more fully connect with the world around you, but my thoughts rush too fast. For many people who struggle with mental health issues, this restlessness is common. One approach doesn’t work for everyone. 

          I’ve found two types of meditation that work for me. The first is imagery meditation. If you’re a writer or an artist, you probably already do something similar. Begin by picturing a scene, perhaps on a beach where the waves crash and recede along the shore. Now imagine a boat approaching the shore. Who’s on the boat? Maybe it’s a friendly fisherman who wants to chat about your life. Maybe he takes you on a boat ride. Imagine the ocean lapping against the hull of the boat, the sun sparkling against the waves, and dolphins leaping out of the water. Just sit with the image for a few moments, taking a few deep breaths and letting the story play out. This is imagery meditation. It’s the only “traditional” type of meditation I can do.

          I also do yoga. Yoga focuses on breath and movement. Because you’re moving your body, it is easier to stay in the moment. There are tons of beginner yoga videos online that will recharge your brain and benefit your body.

          Visit a Favorite Nature Spot

          If you’ve spent any amount of time on the internet, you may have heard the saying “go outside and touch grass.” This advice has merit. Sometimes we need to reconnect with reality. I highly recommend finding a local nature spot. Perhaps it’s a nearby park. Maybe your neighborhood has a walking trail, or there’s a lake near your home. Maybe you’re one of those lucky souls who lives close to the ocean. Find a place where you can just breathe and “nature bathe.”

          My husband and I often take walks around a local duck pond. It may not be the quietest spot, but seeing geese and ducks glide across the surface calms my soul. Find a place where you can “touch grass,” reconnect with the natural world, and give your brain a break from the artificial glow that constantly surrounds you.

          We only have one brain. It’s up to us to keep it functioning effectively. As creators, everything we do requires brainpower; we need to care for our most essential creative tool. Sometimes our brains just need a little vacation to give them a reset. If life’s been stressing you out, try using one of these methods to give your brain a break! 

          A headshot of KaTrina Jackson.

          KaTrina Jackson

          Author, Editor

          KaTrina Jackson loves penguins, chocolate, and piano music, and spends much of each day trying to fit those loves in around her jobs as a freelance editor and a project manager for Eschler Editing. She graduated with a degree in editing and publishing from Brigham Young University. She’s a member of three different writing groups, attends and teaches at multiple writing conferences, has volunteered with LDSPMA since 2021, and recently published her first novel. When she’s not writing, editing, or reading, she can be found practicing yoga, teaching piano lessons, or watching Disney movies while working on a cross-stitch project. She and her husband live in Olathe, Kansas.

            Zoom Discussion: June 16, 2026: From Promptings to Profits

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            portrait of Heidi Prigmore

            with Heidi Prigmore

            Tuesday, June 16, 2026, 7 pm Mountain Daylight time

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            From Promptings to Profits: Navigating the Journey of Making and Marketing Art

            Do you love creating art but struggle to turn it into something more than a hobby? If you feel a desire to create but aren’t sure of your next steps, I can certainly relate. Wouldn’t it be wonderful to have a mentor provide clear guidance on exactly what to do?

            In this session, I will share five real-life tips that have helped me on my own journey from creating art to successfully sharing and profiting from it. 

            About Heidi: For over 3 decades Heidi  has professionally shared her creative work through story illustrations, textiles, graphic design, and teaching. Recently, she has focused her practice on cut paper art, a medium she views as a playful, vibrant, boundless form of folk art. Growing up in a variety of locations instilled in her a deep appreciation for many different cultures. This background continues to influence her perspective and creative work. Heidi finds great joy in sharing the gospel while helping others discover their own artistic talents. Heidi loves spending time in nature and being with her family.  

            view the recording

            How to Approach Feedback on Your Writing

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            Receiving edits from an editor, beta reader, or even a friend can be both exciting and daunting. It’s natural to feel a mix of emotions: nervousness to see what your reviewer thought about your manuscript, eagerness to dive into revisions, or apprehension about the work ahead. 

            Feedback can come in multiple forms. If it’s feedback from a beta reader, it might be a few paragraphs long and gloss over a handful of portions of your manuscript. If it’s from a copyeditor, you might get a style sheet and an entire manuscript’s worth of punctuation and grammar corrections. If it’s from a developmental editor, you’ll likely receive an editorial letter and pages of notes. No matter what kind of feedback you get, the following tips will help you interpret it and form a plan to revise your manuscript.

            Remember That Revisions Are Normal

            Going through feedback can be overwhelming. After all, you just handed off your book baby to a stranger! Receiving feedback that requires you to adjust a paragraph here and there may feel relatively easy, but it is another matter entirely to hear a suggestion that, if implemented, will require hours of planning and rewriting. Just take a breather and remind yourself that revisions are a normal step in the writing process.

            Recognize that feedback is not a critique of your writing abilities but a constructive assessment aimed at elevating your manuscript to its fullest potential. Every successful manuscript has been revised. It’s even safe to say that most manuscripts have gone through a plethora of revisions. Your manuscript is no different. Embrace the opportunity to learn and grow from the insights provided.

            Consider Others’ Perspectives

            Whether your reviewer is a professional in the publishing industry or a neighbor down the road, it’s important to consider his or her feedback, even if it differs from your own. One of the most valuable aspects of getting your manuscript reviewed is that there is distance between the novel and the reviewer. Unlike the writer of the manuscript, reviewers can look over the manuscript with fresh eyes. This means your reviewers are in a position to provide outside and objective insights that you as the creator may not be able to see. Their feedback will also reflect what other readers would notice as they read your book for the first time.

            Remember, reviewers provide feedback based on their expertise and experience. Editors have been specifically trained to learn how to make your manuscript successful. They bring a wealth of knowledge about what makes a story engaging and marketable to your target audience. Beta readers are avid readers who will recognize themes you should include in your novel. And perhaps a friend will give you some great pointers.

            No matter who your reviewers are, they will bring value to your manuscript.  It’s important to appreciate their time and effort and truly consider their feedback.

            Seek Clarity

            If you’re unsure about any aspect of the feedback, don’t hesitate to ask for clarification. When reaching out to your reviewer, be specific about the areas of the feedback that are unclear or require further explanation. This might involve asking for examples, elaboration on certain points, or additional context to better grasp the reviewer’s perspective.

            Once you clearly understand the feedback, you may want to brainstorm with the reviewer. Or perhaps you have implemented more changes and want his or her perspective on your next draft. Ask your reviewer if you can share new ideas with him or her based on his or her feedback. Going in a new direction with your manuscript or implementing a big change is scary, and receiving additional feedback and validation from another person so intimately acquainted with your work can be extremely motivating, spurring you to tackle the revision with a sense of purpose and confidence.

            Most reviewers are happy to provide more insight or look over your manuscript again. After all, they’re now invested in your story too. However, it is a good idea to check with reviewers to see when or if they have time to give more feedback. And if working with professionals, make sure to review your contract to see how many revisions are covered or if you will need to schedule and pay for a new round.

            Know What Your Feedback Will Look Like

            There are multiple kinds of feedback, and depending on what that feedback is will determine how you will implement it into your next draft. Let’s talk about a few kinds of revisions.

            Developmental Editing: Editors will indicate which big-picture aspects of your story need the most attention. They will provide detailed explanations of existing issues and how they can be changed. You may receive an editorial letter with a list of items to address or you may receive a document with comments in it or both. No matter what format the feedback comes in, it is important to read and digest all the feedback before you start revising. This way, you can get a clear picture of the reviewer’s overall assessment of your novel. From there, you can determine what changes you need to make and in what order they should be done. Then, you can start rewriting, cutting scenes, or shifting paragraphs around.

            Line Editing: Editors will use Track Changes, which is a feature in electronic documents that allows reviewers to track the changes they make so the writer can see what the reviewers do versus their original work. You will be able to accept or reject these changes in the document. If the changes are simple, like changing a word here and there, you can accept or reject them as you read them. But if the suggested changes affect the manuscript as a whole, it’s a good idea to read all the way through the document before accepting or rejecting changes.

            Copyediting: Editors also use Track Changes to make edits to the technical elements of your manuscript, such as punctuation, grammar, and stylistic consistency. Again, you will accept or reject these changes directly in the document. But since these are all changes that affect presentation and not the book overall, you can accept or reject them as you read.

            Proofreading: When editors look over your typeset document, they will either leave comments directly in the document that note the errors they’ve found, or they will send you an additional document containing a list that indicates the page, paragraph, and line of the error. If you typeset the document yourself, you can use these edits to update your document. If you hired a typesetter, forward this feedback on to the typesetter, and he or she will make sure the feedback is incorporated.

            It’s also important to note that there are no industry-standard ways to give feedback. So it may be smart to ask your editor what format he or she uses or to tell a beta reader that you prefer to review feedback in a specific format. Having proactive conversations like these can prepare you for the feedback you will receive.

            Choose Which Feedback to Implement

            Not all feedback needs to be accepted. In fact, you can choose to accept or reject whatever feedback you like. (This may not be true if you have a contract with a publishing firm. So make sure to double-check that.) However, even though you can choose how to shape your manuscript, it is important to consider the reviewer’s expertise and your publishing goals when deciding which revisions to implement.

            Consider the type of edit done. For example, copyediting adheres to established rules and industry standards, meaning these revisions should typically always be accepted. Developmental edits, on the other hand, may involve significant changes to plot, story structure, or character development, which means they are open to interpretation and should be weighed carefully.

            Next, think about what pros and cons come with accepting or rejecting feedback. For example, if your editor advises reducing the word count to meet industry standards, you can choose not to, but be aware that it may be more difficult to get your book traditionally published. On the other hand, if one out of ten of your beta readers has a negative reaction to a certain character and suggests changes to improve that character, you might not need to implement his or her feedback. But if the majority of your beta readers have a negative reaction to that character, implementing their feedback and changing that character may be in your best interest.

            When looking over feedback, you should also think about your reviewer’s background. Does your reviewer have any credentials that would make their feedback more credible? Is your reviewer familiar with the publishing industry and giving suggestions that will make your manuscript more successful in a particular genre? Or is his or her feedback based on personal preference? For example, let’s say your manuscript focuses on a particular culture, and your reviewer has given you feedback suggesting you make changes to the description of that culture. You should evaluate your reviewer’s expertise in this area. Is he or she making this suggestion because he or she wants the story to be more familiar to him or her? Or is he or she a sensitivity reader who is familiar with the culture? If the former, you most likely don’t need to implement the feedback; if the latter, you probably should.

            It’s also important to remember that your story is uniquely yours. If the feedback you receive doesn’t sit well with you, you do not have to incorporate it into your next draft. For instance, let’s say your story is about two sisters growing up on a potato farm in Idaho. Your reviewer suggests making your characters a brother and sister instead of two sisters. Your reviewer may have a list of good reasons behind this change, and these changes may make your book more marketable. However, you may choose not to accept this suggestion because you have tension with your own brother, which would make it difficult to write about a brother and sister in the manuscript. Or perhaps you’ve been envisioning this book being about two sisters for decades and simply can’t part with that idea. Either way, it’s also important to stay true to your own vision for your manuscript.

            Deciding which feedback to implement is a lot of work. Make sure to evaluate each recommendation in light of your creative vision and narrative goals while also accounting for your reviewers’ expertise and industry standards.

            Remember, the editorial process is a collaboration aimed at elevating your work to its fullest potential. Every piece of feedback is a valuable opportunity to enhance your writing skills and bring your manuscript closer to publication. By balancing your writing goals with constructive feedback, you can navigate the editing process and feel great about the story you put out into the world.

            This article was written by and republished with permission from Ever Editing.

            Zoom Discussion: April 23, 2026: “The Power of Free – Grow Your Audience with Lead Magnets”

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            Casey Cline portrait

            with Casey Cline

            Thursday, April 23, 2026, 12 pm (Noon) Mountain Daylight time

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            The Power of Free – Grow Your Audience with Lead Magnets

            What to create, why it works, and how to deliver it with BookFunnel

            You’re creating incredible work, but how do you turn casual interest into a lasting audience?

            Whether you’re an author, artist, composer, or any other kind of creative, this practical session will teach you the what, why, and how of using free lead magnets like sample chapters, bonus scenes, sheet music, song files, art print files, etc. to grow your creative following.

            Discover possible lead magnets for your creative field, why they are one of the most powerful tools for attracting your ideal audience, and how to seamlessly and professionally deliver your content using BookFunnel.

            By the end, you’ll have the know-how to create and distribute an irresistible lead magnet that builds meaningful, lasting connections with your audience.

            Bio:

            Casey Cline collects hobbies and pursuits as quickly as she reads books. She likes to believe her degrees and licenses in business, law, and real estate aren’t entirely incongruous with writing historical stories about the ultimate adventure in life—love. Casey lives in Nebraska with her husband, two daughters, and three cats. She currently serves as LDSPMA’s Vice-President.

            Join LDSPMA and Casey Cline for this informative discussion.

            View Recording

            View Casey’s Slides: https://canva.link/jvth0vphzza84w3

            View the Bookfunnel Webinars on YouTube: https://www.youtube.com/playlist?list=PLMgkKFCbvgvJ-sqcsaW2XmNuEi-kRGqiT

            Bookfunnel’s blog post about including new media: https://blog.bookfunnel.com/2026/more-than-books-introducing-multimedia-uploads/

            Links: Casey Cline’s website: https://caseycline.com/