Revision and editing are key components writing fiction and writing children’s books. The craft of revision is something every writer should practice if they want to know how to write and sell a novel. These articles focus on revision and editing children’s books, picture books, early readers, chapter books, middle grade novels, and young adult novels.
When thinking of how to convey the events of your plot, you may be considering using compressed narration in fiction. Compressed narration is a quick description of what happens. Its opposite is narrating the entire scene.
There are two ways of rendering action in fiction.
Example of Compressed Narration in Fiction
It may be difficult to visualize compressed narration if you’re not familiar with it, so here is an example:
I hung out after school, picked Stella up from her swim practice, and we got ice cream. The entire time, I meant to talk to her about what Dad told me, but I couldn’t find the nerve. It was still hanging over me by dinner.
As you can see, we aren’t privy to the entirety of this scene. It’s described quickly and then the present action of the story, presumably, resumes. We don’t see the scene with Stella and the narrator eating ice cream. If the action was a movie in a VCR (remember those?!), it’d be squiggling by on fast forward.
So is compressed narration in fiction a good way of conveying plot? It sure is, when used appropriately. You don’t want to rely on it too much, but it can certainly help keep your narrative moving.
Three Times to Use Compressed Narration
One great use for summary in fiction is to skip over scenes that aren’t necessary to render, but important to mention. I doubt anything exciting happened over ice cream. The point of that example paragraph wasn’t even the ice cream, it was the narrator keeping a secret. So compressed narration was used to move the action forward a little and put even more pressure on the narrator to spill the secret.
This is a nice use of this technique. Remember, readers don’t need to read about every single little thing that happens in great detail. Sometimes a mention of it is enough.
A second use for compressed narration in fiction is to bring characters up to speed on information the reader already knows. If Bob just went through an ordeal, and wants to tell Sue about it, the ordeal is new to Sue, but not the reader. So handle it with compressed narration.
Some Examples
I told Sue all about what happened. She asked a bunch of questions and, when she was satisfied, we gaped at one another. “What do we do now?” I asked.
The third use of summary in fiction is when providing context. For example, it’s good in flashback, when you need to insert a little information, without going into full detail.
That summer the possum got stuck in our toilet and Mama finally put her foot down about moving, we ate rice six nights a week so Dad could save up all his tips.
This doesn’t necessarily need to be a long and drawn-out memory. The mention of it is enough to communicate the more important point: The family had to make ends meet, even if a toilet possum was what touched the whole thing off.
Summarizing Compressed Narration
Basically, compressed narration in fiction is used for things you want to mention, but which aren’t important enough to warrant directing reader attention to them. If you have been told that your narrative drags or that your plot lacks momentum, consider using summary in fiction to speed things up. Which events need a full render, and which can be compressed?
If you’re worried about your plotting and pacing, hire me as your novel editor. I can help you with many elements of your fiction craft, and help you tighten up your storytelling.
Today I’d like to talk about submitting to literary agents who have already rejected your work. There are only so many literary agents to go around, so I understand resubmitting a query letter to the same agents with multiple projects, or multiple revisions of the same project. Longtime blog friend Mary puts it like this:
I’m starting my second round of submitting my novel to agents. There are some agents I submitted it to between three and four years ago. I’ve substantially revised the novel in that time. Should I submit again to agents who had no interest back then? Two years ago I submitted a second novel to them with no luck either. Will they think “GAA! Her again!”?
Hey, so, I know this novel might sound familiar. But it’s changed, I swear!
Unfortunately, even though you’ve corresponded with these agents before and they’ve looked at things of yours, it doesn’t seem like they’re hot leads for you. If you haven’t gotten a project through to a particular agent with either a personalized and encouraging rejection, or a revision request… And if this particular pattern has played out with two different manuscripts…
I’m afraid resubmitting a query will not help you connect with that particular agent because it may not be a fit. I can’t say this with 100% certainty for each agent on your submission list, of course. I’m not them. But I’d say that your chances are on the slimmer side.
Remind Them of Your History When Submitting To Literary Agents Who Have Already Rejected Your Work
Especially if you’re considering resubmitting a query with a new version of a manuscript they’ve already seen. You can absolutely try to submit to them. There’s nothing preventing you, unless you got a sense about any of the agents that they simply didn’t get, or didn’t want to get, your work. (It’s definitely not worth barking up their tree if that’s the case.) But do you want to submit to them again? I would be wary of this approach, honestly. You’ve identified the potential issue with it in your question.
Agents do remember people who’ve submitted to them, even a few years on. Most use email inboxes that make your previous submissions easy to find. And if you’re submitting to them and you have a history of previous submissions, you do want to mention that they’ve previously seen your work in your query. So they’ll have everything at their fingertips to remind themselves of your previous correspondence.
Now the agent receives another submission from you. And, in this case, it’s a resubmission of a project they’ve passed on. They will likely consider it. Will it be real interest, though, or politeness? That’s tough to say. Your fear isn’t completely unfounded. The agent might, realistically, wonder why you keep submitting to them if they haven’t given you any positive signals in the past. Sometimes an agent will have dozens of submissions from the same writer, even though none have hit their mark. Agents definitely remember these names.
Are you at that level of notoriety with one project, a second project, and a revision? No, but you’re getting up there. You know the old adage. The definition of insanity is doing the same thing over and over again, but expecting different results. In your case, this might not be insanity, of course. You may have turned around a phenomenal revision. And I hope you have! Focus your efforts on people who have either shown you encouragement, though, or new faces.
Know When to Keep Submitting a Project, and When to Move On
Long story short, in publishing, as in dating, it might be tempting to chase someone who doesn’t encourage your advances, but that may not be your strongest shot at success. I would advise you to freshen up your list of potential agents and submit to some new names. Let other agents see your revision for the first time! If nothing comes of that process, then you’re facing the difficult decision of whether you want to revise again, or chalk this manuscript up as a learning experience. Submitting to literary agents who have already rejected your work can be tricky and risky. It may be worth a shot, though.
Do I love giving this advice? Absolutely not. But I respect you too much to sugarcoat a reply. I wish you the best of luck!
Are you getting nowhere with your manuscript? Wondering if you should keep revising or focus on a new project? Give yourself the strongest shot at success by working with me as your book editor. I can help you with questions of career strategy as well.
Wondering how to write the beginning of a novel? Starting a novel with setting description is a big no-no. Learn why setting description is played out in today’s video response.
What follows here is a transcription of the video. You can watch for the advice, or read it below. I have a question today from Melissa who wrote in to ask how to write the beginning of a novel. Is starting a novel with setting wrong? What if the setting description reveals something about character?
Novel Beginnings Are Incredibly Important
Writing a novel and beginning a novel are two of the biggest question categories that I get. And a lot of writers have heard, yeah, maybe it’s not so great to start with setting description because it’s static. It’s not active. There is really nothing going on.
There’s a concept called the objective correlative, which is a literary device where you use something inanimate like the weather or setting to communicate emotion. So a really typical example is, starting a novel with setting like a storm, and that’s a literary device for conveying that there is something going on. There’s a big storm raging in the story.
And so I think Melissa is asking this question because maybe she’s been turned away from starting with setting description. Maybe she has been told that starting with setting is not a really great thing. And my response to that would be when you’re starting a novel, you really want to ground the reader. And there are two components to grounding the reader.
One is the reader wants to know where they are, and then the reader wants to know when they are. And this applies to starting a new chapter as well. So when you’re starting a chapter after there has been a break, you really want the reader to catch up with where they are after you spit them out after the break and when they are relative to where they came from. The same concept applies for the very, very beginning of a novel which is excellent real estate.
Grounding the Reader But Giving Them Context, Too
So sure, you want to know how to write the beginning of a novel, and you’ve heard that you have to ground the reader at the opening. Setting description is a wonderful way of doing that because that takes care of the “Where are we?” question, right? But the other concern that you really have to have when you’re beginning a novel is action. There are way too many novels that begin in a completely static way. It’s the character in their room, and the room might tell the reader a lot about the character, you know. We’ll see kind of what kind of posters are on the wall. We’ll see the paint color is very, very dark which is meant to evoke something about character.
So the writer thinks , “I’m really doing my job starting a novel with setting. It’s evocative. This setting description tells the reader a lot about the character. My work here is done,” right? Well, that’s static. Nothing is actually happening, so I would say that the sweet spot would be, to answer Melissa’s question, a strong sense of setting which is essential for the beginning of a novel or a beginning of a chapter, but you can’t rest on your laurels with a really strong setting. You have to do a little bit more. You need to introduce the character, so the character does need to be on the scene, at least for me. That’s what I would recommend. It gives you a much stronger foot up in the beginning of your novel.
Starting a novel with setting or weather or a big event is just one piece of the puzzle.
Adding Character and Plot to Setting Description
The point is, setting can’t be the end-all and be-all. Character, you need to put the character in the setting, and the character should be interacting with the setting somehow, or something needs to be happening which brings me to the third component which would be action, which would be a sense of plot. Now, you don’t have to kick right into your main plot at the beginning of a novel.
I think doing so is problematic because if you start…you come out swinging with a giant plot, readers are not gonna be invested enough emotionally in what’s going on. So they’re gonna have a hard time caring about it right at the onset. So if you come to us with a huge, huge plot right away, you’re gonna be overcoming some obstacles because the reader will be like, “Wait a minute. What’s going on? Who is this person? I don’t care about them yet, so I’m not really getting invested.”
So you need to have something, and Donald Maass who wrote the wonderful book, Writing the Breakout Novel, calls it bridging action which is it is action, something is actually happening. It’s not just static at the beginning of your novel, but it can be a smaller conflict. So it’s something to get the reader a little invested, give them the come hither finger, but it doesn’t have to be, you know, high stakes, huge action right away because that could be a little alienating.
How to Write the Beginning of a Novel
So to recap the beginning formula for starting your novel, setting? Yes, Melissa, novel setting is very important, and you should be beginning with a strong sense of setting absolutely. But we also need character. We need a strong sense of who the character is. Ideally, they’re interacting with your setting. They’re existing in it but in an active way which brings me to three. Something needs to happen right away.
And when I hear writers asking about setting and why can’t I start with setting? It’s usually because they’ve created a setting, they’ve put the character in the setting, and they really wanna get away with the character sitting there and existing without anything happening on top of that. And that’s what I think a large pitfall could be with this question. If you have a setting, if you have the character and you’re hoping that that is enough magic for the start of a novel, what you really need to do is actually add plot.
Examples of Taking Setting Description to the Next Level
If we were to take the example that we started this video with a character sitting in their room, we have setting. We have character. We’re hoping that they are evocative and letting the reader into the character’s world. But something needs to start happening. For example, somebody comes home. Mom comes home and slams the door so hard that the whole house rattles, you know, so something literally happens to the setting. Something literally happens where the character’s emotions get involved because “Oh, no! What’s happening now?”
Or something, something…maybe the character is rearranging their room, for example. So they’re in their setting. We have the character, but there’s a lot of action. Maybe it’s like, you know, all of the pictures that the character has of them and their best friend, they’re ripping them down off the walls. And you know, throwing a picture frame and the glass breaks, you know, these examples are off the top of my head, so some of them might feel a little familiar. There could be some clichés, but they’re meant to illustrate a point.
So you don’t just have setting and character, you have plot as well. So something is happening between setting and character. So I would say that Melissa’s onto something, but the advice to not start in setting, there is a strong basis for that advice. So as long as you’re hitting these three points with the beginning of your novel, you can absolutely start in setting. It just has to be a little more dynamic than just straight-up setting description. I hope that helps, and thank you for asking.
Get actionable, personalized, one-on-one novel advice if you hire me as your developmental editor. We can work on your query, your novel beginning, or the entire manuscript.
Directing reader attention is an art. Descriptive prose can help you master the artform. As the writer, it’s up to you where that precious resource goes. Are you doing a good job?
It’s your mission to show the reader what’s important. Try using descriptive prose.
As the writer, you know what’s important about your story. Your reader doesn’t. They’re brand new to the thing and eager to learn what matters about your character and plot. This is another case of learning the show, don’t tell technique. But how?
You Are the Curator
You need to pick the elements that are important to the story, and leave everything else by the wayside. Act like an art curator when you’re learning how to write a novel. You need to pick the characters and events that are crucial to the telling of your tale. Then you need to layer in every other element that needs to be noticed.
How do you do this in a way that readers can interpret clearly? The metaphor of a spotlight operator is a good way to think about directing reader attention. They sit in the back of a darkened theater. Their objective is to direct the audience’s attention. If there’s a love scene going on downstage, they aren’t going to focus their spot on a big player dancing upstage. That doesn’t make any sense.
As you craft your manuscript, you don’t have a spotlight at your disposal. But you do have other tools. These are the amount of description, and the type of description.
Directing Reader Attention With Descriptive Prose
One consideration when directing reader attention to what’s important is the amount of writing that you’re going to lavish on the element in question. If an amulet is going to become very important in your fantasy novel, for example, you may not want to mention it in one sentence and move on. That will not be enough to pique the reader’s interest.
But it’s a balance. If you lavish too much descriptive prose on the amulet, the reader will think, “Ah ha! This writer is trying to tell me something. This isn’t the last we’ll see of this amulet.” So if you’re looking to direct reader attention without giving away any big reveals, keep your description notable but short (more on foreshadowing).
The adverse is true, too. If something isn’t important, don’t spend time there. If you pour a lot of descriptive prose into the man at the bus stop, his five o’clock shadow, his wrinkled silk tie, and we never see him again, then you’ve wasted the reader’s time. The man was just set dressing. Interesting set dressing, sure, but there was no reason to treat him like the star of the show.
Directing Reader Attention With Types of Descriptive Prose
When you think about the descriptive prose around certain elements of your story, think of the emotion you’re attaching to your description. Important elements should have some kind of voice attached to them, they shouldn’t just lie neutrally on the page.
Look at these two examples:
The dog came over and sat on my lap.
The dog trundled over and lolled into my lap, letting his head rest heavily on my knee.
We may not know a lot about the dog yet, but the second description tells me, as a reader, that there’s probably more to know. The first description is so generic, there’s no emotional signature at all. The second uses interesting words and some sensory details. It paints more of a picture. If you want to be especially emotional, you could even do something like:
The little bastard pranced into my lap and nuzzled his homework-chewing chin into the palm of my hand. I couldn’t stay mad at him, but Mrs. Turner would have my neck for missing yet another assignment!
Here, there’s a clear emotional signature to the description. It’s also a good example of the concept of interiority. We can’t help but start forming a relationship with this dog because, clearly, the narrator already has one. I’m also getting some more context about the situation here, and how the dog fits into it.
Of all three instances of descriptive prose, I’m going to remember that third dog the most, because it was described in an emotional way. It’s also the longest description, practically guaranteeing that my attention is drawn to it (more on how to write emotions in a story here).
When you’re revising, think about directing reader attention like a spot operator and curator with your descriptions. Let them work for you, and guide the reader through your story.
Is your descriptive prose hitting the mark? Hire me as your novel editor, and I’ll help you take your writing voice to the next level.
Starting a novel with aftermath (the reaction to a big event) is hugely tempting. After all, writers are inundated with the advice to “show, don’t tell,” start with action, try raising the stakes, etc. etc. etc. It puts a lot of pressure on beginning a book!
Whoa whoa whoa, what happened here? Let’s take a step back…
Starting a Novel With Aftermath Is Jarring
The other day, I was working on an editorial project, and found myself not quite invested in the opening. I should’ve been — when you’re beginning a book, that’s prime real estate. And the novel beginning was a high-stakes trial. But there’s often a problem with stakes in writing: when they’re too high right off the bat, it’s harder for the reader to get emotionally attached. When we’re screaming about the end of the world from page one, the reader is trying to muster up an insurmountable level of caring.
So when this client project opens with a trial, the real issue is that the conflict is already behind us. There’s no time to fill in context, let the reader discover who the character is, or foster emotional connection.
The interesting deed is done, the problem has happened, and now we’re knee-deep in aftermath. So how should we look at starting a novel?
How to Begin a Novel
Instead of taking this dramatic approach when starting a novel (or writing a prologue that’s high stakes right from the get-go), think about the balance of action and exposition in writing. You want to present the reader with a compelling character who has a manageable problem. Donald Maass calls this “bridging conflict.” The problem is manageable enough that we’re not completely overwhelmed with high stakes. Nonetheless, the problem matters to the character. As a result, we start learning about the character and what their objectives, motivations, priorities, etc. are.
When we’re starting a novel here, instead, readers see your characters in the middle of this problem, trying to work through it. This is much more compelling than seeing them after the problem has already happened. We see them getting invested or emotional or upset. Our attachment to them grows. Then the initial problem is either solved, or it grows into the larger problem that’s going to carry the entire plot.
By this point, the reader should have an emotional foothold not only in the problem, but in the character, and as a result, the story.
Start Your Novel With Action…But Not Too Much
Without introducing a smaller problem and the character first, you’re going to have a hard time selling the reader on the major plot points you’ve cooked up. So when you’re beginning a novel, it’s ideal to start with action — but maybe not too much action.
And as you layer in that action, make sure to layer in context about character. When we start with a trial, for example, I am much more interested in what happened, who did what, and most importantly, why the crime occurred. The dry legal procedural stuff? It’s near the bottom of my list. My curious reader mind wants all sorts of other fodder.
When you’re starting a novel, go where you think your reader wants to be. Court rooms are inherently full of tension, sure, but when you start in one, you’re trying to harness tension you didn’t earn with plot and character first.
Are you beginning a book? Do you need help nailing your novel beginning? Let me be an expert pair of eyes on your first pages. I’ve read tens of thousands of novel openings, and bring that experience to my editing services.
The revision process for writing a book can be extremely intimidating. I completely understand. There are some really great points in the comments about why this situation arises, but that doesn’t change the fact that writers are still often too intimidated by the editing process to give it the time it deserves. Read on.
The revision process is where the magic happens. It’s your opportunity to find the meaning and order in the messy jumble of your first draft.
There’s More to Writing Than Query Letters
I have a harsh lesson for you today about the revision process, my dear readers. Hear me out.
In the spirit of retrofitting my website with all the latest gizmos and gadgets, I’ve also been doing work behind the scenes on SEO (search engine optimization). It’s the art and skill of making websites more friendly to search engines and, ideally, pulling potential readers in off of Google by using keywords that relate to the site’s content. That way, you reach people who are searching for what you have to offer, and they get relevant content. It’s a win-win!
The sweet spot happens if you find keywords that are searched for a lot, but that aren’t terribly competitive. That’s where you find your opportunities to rank high in search engine results. I read a book about it, so I’m basically a pro now. Deal with it. 😛
Revising Your Writing
In reviewing some keywords, I came across the perfect example of why so many writing efforts fail. I feel like the smug spinster aunt for pointing this out, but just look at these two keywords, and the associated search volume. JUST READ THEM AND WEEP (I know I did):
You should be ashamed of yourselves, Googlers!
What’s this you’re seeing? These are two search engine keywords and their monthly associated search volume. Up to 30,000 of y’all are searching about how to do creative writing every month, and only 100 brave souls (or even fewer) actually want to know how to revise a novel!
I apologize for this scolding post if you’re right there with me on the revision train. For the rest of you, the revision train is leaving the station, and you better be on it!
This reminds of me of all the times I spoke at conferences. 9 out of 10 writers would ask about the fuh-reaking query letter. Rarely, rarely, and I mean every third or fourth weekend conference, would I get a craft question at a panel discussion. Or someone would approach me with an insightful writing concern. Were people falling all over themselves to ask me about the editing process? Nope!
It was all about queries. Queries! Those 300-word letters! Compared to your 70,000-word novels! This misdirected energy continues to surprise me.
Love the Revision Process
The revision process is where it’s at. Writing is actually in the rewriting. Once you’ve done the creative writing, there are so many wonderful things that happen during the editing process. Revision is where you find the shape of your writing, it’s where you tease out all of the rich thematic elements.
I can’t get enough of it. So this is a call to action and a plea from your dear friend MK. If your zest for writing ends as soon as you type The End on a manuscript, dig into this website and think about learning to love the editing process.
A literary agent’s slush pile is overflowing with manuscripts where the writer wrote and wrote and wrote and wrote and rev–nah, let’s just send it in! In the overwhelming majority of cases, these are not the manuscripts that get offers of representation.
How to Revise
If you’re stuck or just getting started with the editing process, take this tip: Put your manuscript away for a few weeks. (Ideally three months but nobody ever takes me up on this advice!) Once you’ve typed The End, your subconscious has gone into overdrive thinking of your story and all of its various elements. When you return to the page, you will actually be seeing it with new eyes.
It’s the easiest advice to give, but the hardest to follow. (Check out more revision techniques.) Are you up for taking the challenge and loving the revision process a little more with me this year?
If you really don’t know where to start with manuscript revision, hire me as your novel editor. I’ll give you a comprehensive, actionable, and inspiring map.
Revising your novel takes time. Revision is where the story really takes shape, after all. Not everyone understands that revising a book is just as important as writing it, though.
Don’t rush when you’re revising your novel.
Revising Your Novel: An Anecdote
Recently, I had a potential client come to me for freelance editorial work. He had a 4,000 word manuscript and a dummy that he wanted me to review. It was a rush request, which is fine. I charge more for those because I have a lot of clients who wait quite a while to get on my calendar. Not a problem. But I ultimately ended up declining to work with him, and I got to thinking that I’d write a post about why. The real reason was this client’s personal deadline for revising a book, and a potential issue it implied. Note that I received this email on December 10th, six days before the writer wanted me to turn the work around, and ten days before his submission goal.
My Response
Thanks for writing in. Winter is my absolute busiest time. I call it the New Years Resolution effect. Do I have an hour to look at 4,000 words and scroll through a dummy? Sure. But, to be honest, I am hesitant for a number of reasons. Two have to do with how I operate, personally. First, I’ve had people sign up in August to work with me over the winter. I sometimes do expedited services, but because you’re contacting me to skip the line and all of these other clients that are on my plate right now have been waiting so patiently, I do charge 25% more than I usually would to accommodate rush requests. Second, I always need an agreement and deposit in place to begin work. You’re not allowing a lot of time for those logistics. I could just dive in, sure, but I operate on a fairness principle. I don’t want to throw my usual workflow out the window for one client, when others would’ve probably liked for the same. I didn’t make exceptions for them, and so I won’t in this case, either.
My next two hesitation have to do with your self-imposed deadline. First, publishing essentially shuts down during the holidays. Since so many people are away from the office, very little gets done. I’ve been discussing submission strategies with several clients and I’m recommending that they fire work off to agents and editors in mid-January at the very earliest. Could you submit five days before Christmas? Sure. What are the odds your submission will actually be read on the 20th? I would say 1%. I realize it’s a symbolic deadline that has a lot of meaning to you, but it’s probably one of the most hectic times to try and show your best foot forward. You risk hurting your chances if you submit now.
Second, you’re requesting editorial feedback. If I do read the manuscript, chances are, I’ll have notes for you. A lot of notes. But you want to submit by the 20th. Is four days enough to address them and finish revising your novel? That’s where I have to draw a hard line and say, “No.” The bulk of a writer’s work isn’t in the writing, it’s in the revision. You’ve told me that you don’t plan to change your dummy at all. That makes sense. You’ve already created it, and you’d prefer not to repeat that work. But the manuscript might have a lot of opportunities for growth. A lot of opportunities that you don’t want to miss. 4,000 words doesn’t sound like a lot to some, but any story, even a short one, has a lot of moving parts. There’s plot, character, voice…
If you engage a developmental editor who’s likely to give you suggestions for changes, I’d say you’re not giving yourself enough time to make them. There are writers who submit to freelance editors with the expectation that the editor will say, “This is perfect as is, you’re ready to send.” I have only encountered a “ready to go” manuscript twice in my years of editorial work. Even those two could’ve benefited from some tweaking, which both writers took their time to do before going on to secure their agents. Much more often than not, there is a lot for a writer to do after they receive feedback. If you’re looking for someone to just give you the green light and no notes, I’m not that person.
It’s for this last reason that I am going to kindly decline your rush request. I have the hour, absolutely. Everyone has an hour. But I don’t think it’s a good use of my time or your money to give you thoughtful editorial feedback if you’re just planning on zipping through a revision in four days. If you want to really jump into the editorial process, let’s talk. If it’s not right for you at this time, I wish you all the best.
Revising Your Novel: Expect to Put in the Work
I don’t mean to sound harsh. But there are a lot of writers, it’s true, who engage an editor with the expectation that they’ll hear, “Wow! Rush this off tomorrow, it’s perfect!” I’m not saying that this writer thought exactly this, but given the timeline he wanted, I just couldn’t see how there would be bandwidth for actually revising a book. The point is, many people spend all of November pouring 50k words onto the blank page. Is this an accomplishment? You bet! But once their first drafts are done, some writers say, “I wrote a book, now what?” They decide that it’s time to find an agent yesterday. They’ve written a novel, after all! It’s right there in Scrivener, formatted and everything! So what more could possibly be needed?
A lot, actually. If you’re like the other 99.99% of us mere mortals. So I hope this post serves as a reminder of the importance of revising your novel (check out revision techniques here). And a peek into my thought process. (And a reminder that December is a dead zone in publishing!) It’s rare that I turn down an editorial client, but it does happen. Some projects simply aren’t a good fit for me to begin with because of subject matter, genre, or style of writing. It’s very rare that I consider a project unreadable, but it has happened once or twice. In that case, at my rates, it really doesn’t make sense to have me come in and try to bring it up to a basic level. You would go broke, and I would go crazy. More likely, when I pass on a client opportunity, it’s because I don’t see how I’d be able to add value. If I don’t have good ideas for how to work with you, I’m not going to take your money. Or, in cases like this, I see a potential red flag that a writer’s expectations will not align well with the actual service that I pride myself on providing. It’s always a tough call to make.
In a very satisfying plot twist, I heard back from this potential client. He took the points I made to heart and scrapped his self-appointed deadline. We’re working together on his project next month, and he’s giving himself the time to turn around a quality revision. Sometimes these stories do have a happy ending!
Revising your novel? Hire me as your novel editor and I’ll challenge you to make your manuscript the best it can be before you send it off to agents.
Today I want to highlight some tips on how to edit yourself and identify problem areas in your work. Now, I can give advice until I’m blue in the face, and I know that maybe only 1% of people will actually try it. For example, I routinely tell writers who are struggling with a manuscript to put it away for three months and THEN try revising it. So far, I’ve heard from maybe a handful of writers who’ve tried it. (They loved it, BTW. Just sayin’…)
Self-editing tip: look for areas in your work where you start to get bored. You’ll want to go back and give those places more attention.
Yet I still persist in giving advice on how to edit yourself! Because it’s good for you! (What a Mom thing to say.) This technique is especially useful if you’ve been told that your writing sags or slumps or stalls. I’m looking at you, Muddy Middle.
Self-Editing Tips
There’s not much of a trick to how to edit yourself, it’s very simple. All that’s required is a printer and some marginal self-awareness. As you “edit,” you only have ONE task. Sounds great, right?
Put your manuscript in single-space formatting. This is so you’ll be less tempted to scribble on it and line edit. Sure, it hurts the ol’ eyeballs, but we all have to suffer for our craft sometimes.
Print it out and pick a time when you can read it as you would any other book. This works best if you have a few solid chunks of time to really kick back and sink into it.
Start reading. Consciously avoid trying to edit as you read. Try and read it like you would any other book.
Look at your own mind as your read. Your one job is this: Put a check mark in the margin whenever you feel yourself starting to drift, mentally. If you start thinking about the grocery list, or what you’re doing this weekend or sinking into a mire of self-loathing about how crappy your manuscript is, or whatever, put a check. That’s it, that’s all. Don’t even analyze it, just put a check mark.
Awesome. Now you have a manuscript with some check marks in the margins. And what does all that self-editing mean?
Parts of Your Book are Boring
I’m sorry. Someone had to say it. But we can’t all be brilliant for 250+ pages, especially in the early stages of crafting a manuscript. Scenes run long. We lose the point of what we’re trying to say. We get more excited about crafting wonderful prose than actually accomplishing any action. Objectives disappear and are replaced by banter that may or may not be witty. Plot points go into hiding. Or maybe you’re just trying to make your 1,667 words for the day because it’s NaNoWriMo. (I’m on to y’all…) It’s OKAY.
With this largely hands-off approach to how to edit yourself, you are identifying the parts of your story that need work. That are, let’s face it, a little boring. (Learn more about how to avoid writing boring characters here.)
The most important take-away is that, if even you can’t focus enough to read it, you can’t expect a reader to slog through. Simple as that. You have a vested interest in this manuscript. Nobody else does. (Yet.) If you’re boring yourself, you need to take a long hard look at those places. Usually the culprit is too much thinking/talking and not enough action. I have tons of plot-related posts you can check out to help beef up in that respect.
So who’s ready to do some self-editing? Who’s excited to do a Boring Edit?
Sometimes it’s impossible to pull of a truly transformational revision alone. Hire me as your manuscript editor, and I will get you unstuck if you’ve been tinkering for too long, or off on the right path to begin with.
An editorial client of mine wrote me this morning about when to stop revising, just as I was wondering what I’d post on the blog. Her question, to paraphrase, was:
I see that my manuscript has a few flaws, some big, some small. But are they fatal flaws? Is it better to revise this manuscript or give up on it so that I can focus on something else that doesn’t feel quite so full of holes.
In other words:
Does this have a chance of getting published or should I place my bets elsewhere?
Not sure if a manuscript is worth revising for the millionth time? Put it in a drawer for three months. Looking at it with fresh eyes can help you to evaluate it accurately.
The Question
If this isn’t THE QUESTION, I don’t know what is! And, as you can guess, I love and I hate this question. I hate it because it’s, for the most part, impossible to predict which projects will sell to a publisher and which won’t. Which will, once they sell, go on to achieve commercial success, and which won’t. Even publishers don’t have the secret formula: most of the books that they pay advances on don’t earn out. Yet this is the question on every writer’s mind, and understandably so. Unfortunately, I can’t answer it with any degree of certainty because I don’t have a crystal ball. (If I did, you’d see my IP address coming from some island. Cuz I’d use it to play the financial markets and not hedge my bets on publishing, ha!)
But this noncommittal nonsense is NOT why you’re reading this post about when to stop revising. So, while I have to say it, I won’t give you some fake half-answer and call it a day. I know what you’re really asking, and despite my caveat, I will tell you what I told my client, just in less specific terms because I likely haven’t seen your manuscript. If there are weaknesses to your manuscript that you or someone else has identified, or if it’s in a very crowded category (zombies, for example) and you just don’t know if you can make a dent, I would really dig in to the area that needs work. If it’s craft, read as many plotting/character/voice/whatever books as you can get your hands on. If it’s premise, start thinking of ways to make it stand out. (Check out this post about freshening up your book premise.)
Think Critically About Your Work Before You Decide When to Stop Revising
While you’re at it, you will want to really take a long, hard look at everything that’s going on in the book. In fiction, one element informs the other, and so it’s pretty hard to untangle them and say, “This is the culprit, revise this and everything else will seem different, too.” Take all feedback you receive with a grain of salt, and make sure you do your own digging, too. Hint: If you have a hunch that something isn’t working, I can basically guarantee that you’re right. The majority of things I comment on in manuscripts are things the writer knows are an issue but has been avoiding fixing because the fix seems complicated, or they just don’t know how. But I can’t tell you the number of times I’ve heard, “Yeah, I thought so!” in response to an editorial note.
You know that I hate this question, but I said that I also love it. I love it because writers are asking when to stop revising. That means they have the presence of mind to think critically about their own work. A lot of people don’t, believe it or not. Not any of you fine people who are reading craft articles in the pursuit of knowledge, that’s for sure. With you in mind, however, I will say this: It’s possible to be too critical and nip a good project in the bud before you give it adequate time to flower. We all want the certainty of, “If I spend six months on this manuscript, I will reap the rewards with a juicy book deal!” But it doesn’t work that way. If you’re an unproven talent, you have to do the work and put in the time long before anyone has heard of you or validated your efforts. So don’t get frustrated and quit too early, because any work you do on your WIP is good work. Is necessary work in learning how to create a story.
Revision Always Helps You Learn
You don’t get any guarantees but revision is never a complete waste of time, either. Unless you know, without a doubt, that the manuscript is terrible and even your Mom has told you so, there is something to be learned from every revision effort. You can certainly speed up the process by getting qualified feedback (not everyone who has something to say about writing knows what they’re talking about, so only seek out the opinion of people you trust). And you can speed up your ability to do something with the feedback by reading about the craft.
There’s no way to say right now whether your revision will result in a manuscript that goes on to be published or forevermore remains a drawer manuscript. I am NOT trying to dodge this all-important question about when to stop revising when I say that. Either way, though, it will be worth it because I can say, categorically, that every writer has at least a few things to learn. Whether they’re for your current WIP or for your next idea or whatever’s after that, you will learn something and you will be able to use it to your advantage going forward. There’s an obstacle course in front of you, and I’d at least run it, even if you don’t get the outcome you want.
The “Drawer Manuscript” Technique
If this answer doesn’t seem right for you because you suspect your manuscript is flawed as all get-out, I recommend the following: try the “drawer manuscript” technique. In other words, put it aside for three months (this is key, I promise, nobody will do it but it’s good advice), and work on whatever new idea is getting you excited. Give it one last read, and then evaluate when to stop revising. Sometimes revision fatigue can blind us. You may find something there that’s worth working on. Or you may confirm your suspicion that you’ve written a drawer manuscript that should stay in the drawer. Either way, you’ve given it one last look.
If you can’t look at your manuscript one more time, hire my editorial services and I’ll give you a fresh perspective on your work.
When I talk to client about novel world building, I talk a lot about context. If, for example, there is a magic in worldbuilding, I want to know if a) magic is common, b) the protagonist has experienced magic before (if yes, how much? what kind? etc.), and c) how they feel about it. So when a streak of green lightning flies across the room, I am looking to the protagonist for clues. How they react to it will tell me a lot about how magic operates in the world.
But this sort of approach isn’t just for novel world building. You can add an emotional stance to almost everything, even if your book is set very much in the real world. Think of it as a worldbuilding approach to all of your writing. It’s also a principal tenet of interiority. How does your character see the world? How they react to stuff will be a very good guide.
Adding emotional layers to a story is just like novel world building, only without the unicorns (in most cases).
Emotional Novel World Building
For example, if they see the new kid in school, they might say:
There’s Bo, the new kid in school.
This is merely factual, but is there an emotional signature there? No. Do some worldbuilding! So the reader is still wondering … so what’s the deal with this Bo guy? Do we like him? Is he weird? If he’s important, I want to know more about him right away. One answer (other than putting Bo in the plot or in scene with the protagonist, which I would also recommend) would be to add an emotional stance into your novel world building. (For more tips about describing emotion.)
For example, here are some more complex reactions we can have to seeing Bo:
There goes that Bo, swaggering like a show pony. Who does he think he is?
There’s Bo, on the fringes of the cafeteria with the cool drama kids already. Would he say something to me today? I hope so.
And then there was Bo. Was he the one who shot off that green bolt during homeroom? What if he’s an algae elemental? What if he can help me figure out the Slime Pond mystery?
Novel World Building As It Applies to Character
Here we have three different attitudes about Bo, because I’ve let the narrator have an emotional stance inaddition to providing basic information (“There’s Bo”). In the first example, the emotion about Bo is quite negative. In the second example, it’s attraction to Bo. He’s already off fraternizing with some other group, but the narrator hopes that he’ll come pay him or her some attention, too. The third example gives worldbuilding context but there’s also an emotional signature of intrigue. (Learn more about writing relationships between characters.) We get the feeling that algae elementals (ha!) are quite rare, and they’re desirable, at least for the narrator.
I could play with this stuff forever. For example, what if algae elementals weren’t rare? How would we convey that idea through the narrator’s emotional stance?
And then there was Bo. Was he the one who shot off that green bolt during homeroom? Great. The first new kid we’ve had in ages and he’s another dang algae elemental. This stupid school is teeming with them.
Don’t just settle for describing something or someone. It’s in how you describe them that the reader will be able to read the narrator’s attitude and emotion toward them. It’s all about context, folks!
Layering interiority into your story can be hard. If you want to master novel world building, look no further:
