There's a lot of different ways to look at the editing process but this is personally what works for me:

Draft 1. Just get the story down. You can go back and look at things for consistency's sake but honestly don't worry about anything but getting your ideas down.

Draft 2. Make it make sense. This could be as simple as rewriting a line where you said a character is blond but is actually a brunette, or as complicated as completely deleting and/or rewriting a certain scene. Usually it's a combo of both.

Draft 3. All about character. Are your character's actions consistent? Would they really say that line? Are you sure?

Draft 4. All about style. Would that character really say that word? Does that paragraph have a good enough transition? ect.

Draft 5. Just another go around of the two above. Character consistency and style are very important, my friends, and you may need another Passover.

Draft 6. Spelling, flow, ect. You're reaching the end now. Polish it up.

Draft 7. Just reread It 3-5 times. Edit anything and everything you can.

There's this little thing I like to call Passive Villain Syndrome (probably an actual term for it somewhere but I don't know it), which is where the villain of a story is introduced, the reader is told how evil they are and then . . . they don't do anything until the story needs a climax or the series needs a finale.

My biggest issue with this is that it reduces what could be an interesting and memorable character to a mere obstacle, a plot device. They're evil and they're said to do evil things. It's hard to explain, but it's just boring. It's a similar reason where I don't like stories about a kind character becoming evil just by grabbing a knife and going on a killing spree with a crazed smile. You can put any character in that scenario and they don't stand out. Am I saying you need a deep complex motive for your villains? No, some of my favorite villains are evil because it's fun. But the key thing is that they have creative ways of causing pain and chaos and they feel like a real threat. This got a bit off topic, but my point is these kinds of villains aren't memorable. Your villain should have as much thought put into them as the hero so there is tension and a sense of danger.

It also causes "show don't tell" violations where the reader is told how twisted and dangerous a villain is, but they're never shown. It's worse when the villain is defeated in about 3 pages after all that build up. (cough cough Harry Potter cough cough)

Yes, I know wanting mystery around the villain is a thing. But even something as simple as the villain holding one of the hero's friends captive as they torture them is something. Or keep the identity of the villain a secret, but throughout the story, murders or crimes happen that apply more pressure on the hero to not only find who's doing this, but to also stop them. Present day events, not flashbacks, that's important. I also suggest having smaller encounters throughout the story to build a relationship between the two, put some personal stakes and grudges between them.

TLDR: Please have main villains that don't sit off on the sidelines of the story until the climax needs to happen.

This is a pretty obvious writing tip but I've been thinking about the time I tried to read Hatchet by Gary Paulson in high school and within one page, the author basically repeated "the plane engine was loud" in three different ways. This made me quit the novel immediately and I've never picked it back up.

Don't. Be. So. Repetitive.

In this case, the author was trying to paint the scene by using imagery, repeating and rephrasing the statement several times to make it seem important in different contexts, but it fell completely flat. A good tip for writing imagery is that if a detail is important to the story, it should be said at the top of a scene (or immediately whenever it pops up). It should not sprinkled throughout the text, and definitely not just restated. Give the reader more credit. They get it. Instead, try to weave less important details and small bits of scenery in throughout the scene so you don't info dump at the beginning of the scene, but a reader can still get a mental picture. In other words, make sure your reader knows enough about where your character is, what it looks like, sounds like, ect. but not enough to where the reader is bored with your description.

Something that's especially helpful for me to remember when writing (especially as a person with ADHD) is that people are most productive in twenty five minute stretches. Set a timer. Take a break. Go to the bathroom, get some sun, take a few drinks of water, check your socials, just stare into space for a while. Give yourself permission to stop and reassess.

Remember that your writing isn't going to be good right off the bat. I've been writing out of school since I was eight, I've wanted to be a writer since I was nine, but I honestly still suck sometimes. Writing takes practice.

This is gonna sound stupid but honestly I think the best way to write romance is to take two(+) well rounded, interesting characters and have it make sense that they're together. No one wants to read a romance where the characters are underdeveloped, and no one wants to read a romance where it makes absolutely no sense that these characters are endgame (and I mean that thematically and personality wise)

Remember that your protagonist doesn't have to be a good person or represent anything good, you just have to be aware of that when writing. Protagonist doesn't always mean hero

Tips for writing those gala scenes, from someone who goes to them occasionally:

Generally you unbutton and re-button a suit coat when you sit down and stand up.

You’re supposed to hold wine or champagne glasses by the stem to avoid warming up the liquid inside. A character out of their depth might hold the glass around the sides instead.

When rich/important people forget your name and they’re drunk, they usually just tell you that they don’t remember or completely skip over any opportunity to use your name so they don’t look silly.

A good way to indicate you don’t want to shake someone’s hand at an event is to hold a drink in your right hand (and if you’re a woman, a purse in the other so you definitely can’t shift the glass to another hand and then shake)

Americans who still kiss cheeks as a welcome generally don’t press lips to cheeks, it’s more of a touch of cheek to cheek or even a hover (these days, mostly to avoid smudging a woman’s makeup)

The distinctions between dress codes (black tie, cocktail, etc) are very intricate but obvious to those who know how to look. If you wear a short skirt to a black tie event for example, people would clock that instantly even if the dress itself was very formal. Same thing goes for certain articles of men’s clothing.

Open bars / cash bars at events usually carry limited options. They’re meant to serve lots of people very quickly, so nobody is getting a cosmo or a Manhattan etc.

Members of the press generally aren’t allowed to freely circulate at nicer galas/events without a very good reason. When they do, they need to identify themselves before talking with someone.

Hi sorry to bother u but being creative is never a waste of time go write that thing u were planning on writing I promise you will feel better

The thing about my writers block no one seems to understand is that I actually do have ideas, I just have absolutely no motivation to put those ideas on paper

Enemies to lovers isn't just a superior trope because tension or drama. Enemies to lovers is about finding the common ground, learning to see the best in someone you once despised, being exposed to a different viewpoint and realizing maybe you're not right all the time, discovering love in an unexpected place and seeing that the best things in life really do come along when you least expect them.