Posts Tagged revising
I have a friend on Facebook who posts thoughtful quotes about writing. This, from literary agent Jonny Geller, struck a chord. ‘One thing you learn working with good writers: the easier it was for you to read their story, the harder it was for them to write it.’
My last novel took 23 drafts, and people find this surprising. Why would you rewrite that number of times? But you get seized with love, a love for what the book could be.
And that love can be hard won. A creative person thrives on a mission. If the mission hasn’t arrived when we’re ready to work, we have to somehow find it, which can be thoroughly dispiriting. Nick Cave has just written about trying to start his next album. He talks about a profound feeling of inadequacy, ‘the familiar feeling of lack.’
Every time you listen to a complex and beautiful album, or read a complex and beautiful book, its creator has likely been through this.
Once the mission is found, the work begins. In my 23 drafts of Ever Rest, I was all the time grappling with the very essence of the book. Everything went on the analyst’s couch. Was this scene in the right place? Should I move it? Should I use it for a different purpose, perhaps to make exposition more interesting, perhaps to create a more exquisite conflict? The next revision, I’d change it all again.
Frequently, I’d change a scene’s point of view. Indeed, the novel began as one point of view and became seven, because that’s what I eventually needed.
What a lot of fuss, you might say. And how disorganised. Roz, I thought you had a process.
I do have a process, but there is no faster way. A book has to find what it wants to be, its personal mysteries, its distinctive humanity. And this hard and haphazard journey is also a joy (eventually).
I promised to tell you how
So if this kind of writing is also your inclination, here are some lights to guide you.
How to revise your novel without getting stale – take a tip from Michael Caine
The slow-burn writer – what takes literary writers so long?
Revision is re-vision
I rewrote my novel through a critique group and now I’ve lost my way
Making my honest art – writing and publishing literary fiction
Seven steps of a long-haul novel
There’s a lot more about writing in my Nail Your Novel books – find them here. If you’re curious about my own work, find novels here and my travel memoir here. And if you’re curious about what’s going on at my own writing desk, here’s my latest newsletter. You can subscribe to future updates here.
The magic happens when you rewrite.
If you’re a regular at this blog or you follow my newsletter, you’ll know I’m a huge believer in creative self-editing.
That’s what I’m teaching at this three-part masterclass at Jane Friedman’s online academy. I’ll be delving into the art of self-editing, showing you techniques to evaluate your work, spot opportunities to deepen characters, sharpen the plot, restructure if necessary, strengthen the themes and refine the language – all to help you take a rough manuscript and polish it to professional standards.
The course starts this Thursday (15 April 2021) and continues on the two Thursdays that follow. If those times aren’t convenient, each session will be available as a recording afterwards. Step this way.
Have you ever had this type of comment in feedback?
‘You’re grasping for a strong thematic purpose. The characters’ actions and the plot are full of significance. Somewhere there’s a strong message. But it’s too abstract or muddied to come through.’
If so, this concept might help. It’s borrowed from writing instructor Lynn Steger Strong, and described in this article in Catapult. Think of your work in two phases – the writer phase and the reader phase.
What might that mean and how might it be useful?
First, an interpretation.
The writer phase
This is the dreaming draft, the phase where you splurge everything you have, go exploring, invent your socks off, have dinner with your characters, test their mettle, immerse in your settings and themes, storm your brains. You figure out what you mean, what you’ll have happen, what you understand.
The reader phase
This second half is where you sell it to the reader. If the first phase took place behind closed doors, here’s where you think about all those eyes and brains seeking a connection with you and your work. For this, you need to make a mental shift. Get ruthless and assess every moment of the story on its own terms. For you, the text is already thrumming with meaning and richness. But will the reader get it?
In the reader phase, that is your quest.
Again, how might it be useful?
You need both phases. Why? Because you can’t explore and refine at the same time. If you do, you’ll shortchange the book. You won’t mine its full potential because you’ll be thinking with your critical hat, wondering what a reader would make of it. And if you don’t switch the other way and ask yourself, am I making sense, you might have a muddled mess. One mode is the accelerator and one is the brake. And we all know not to press both at the same time.
So that means there are a few crucial differences in how you approach the two halves.
Mindset for writer phase
Be fearlessly inventive. Every idea is precious, rich and worth exploring.
Don’t invite critical feedback except on isolated points. Eg to solve specific plot problems, or to find story models that suggest useful structures or character functions. For instance, if you want a downbeat ending, you might want to look for other books that made it work. Meanwhile, keep the bulk of the book to yourself. Lock the doors and simmer.
Mindset for reader phase
Playtime is over. You have a duty to your audience. In phase 1 you were fearlessly inventive. Now you must be fearlessly adapatable. The more you question what serves the reader, the better your book will be. Do you have enough context? Often a manuscript is obscure because the writer hasn’t let us understand why certain plot events are important.
Here’s another essential of the reader phase. You must be prepared to make drastic change. Think like a vandal. The lines you gave to one character might be much better if said by another. A scene might be better in another point of view, or later in the book, or used as back story.
This means a lot of precious material might have to die, and you’ll find yourself resisting. If so, examine why. There are usually two reasons-
- You’ll steer the book wrong, perhaps with a tone you don’t want or an issue you’re not interested in. (This is a good reason to reject a change.)
- The change will cause a lot of difficult unpicking, or stop you using other fascinating bits. Ahem. In the reader phase, nothing is sacred. All is material.
This is the stage where you seek critical feedback. Indeed, if you’ve successfully switched to the reader mindset, you’ll welcome every glitch they find – because it supports your mission to find everything that doesn’t work. And here’s the real strength of this approach – switching to the reader mindset makes revision much more positive.
The writer’s journey and the reader’s journey
Lynn Steger Strong talks about the length of a journey. The writer takes a long journey to create the book. We’re inventing, looking for sense, patterns, resonance, pivot moments, grace and charm. The reader, though, needs to get there instantly. Taking them there is the challenge.
Thanks for the pic Joao Trindade
Let’s discuss! Do you find your mind works differently when writing and revising? Have you received feedback that said your book was too muddled or obscure? How did you tackle it?
A conversation on Twitter about online writing groups made me remember I had this post, written nearly 4 years ago. I tweeted it and got so many messages about it I thought it might be worth an official rerun. So – if you’ve been with this blog since 2011 you might have a sense of deja vu. If not …. I hope this is useful.
I’ve had this email from Vanessa, which is a fairly common problem.
During the past 12 months, I rewrote my novel 8 times as part of a critique group, and now I’m wondering if I should just go back to my first draft and start over. My book is different now, in some ways better, in some ways worse. I’m not even sure I can work with it in its present, 8th incarnation. I’m feeling a bit discouraged and don’t know how to recapture the original freshness. I think there are some good changes in the revisions, but also a lot of bad direction. How will I sort through it?
Discounting the fact that some of the advice might be misguided, inept or even destructive, even the most accomplished critiquers will offer different approaches when they spot a problem. You get a lot of input and you don’t know which to ignore. You try to knit them into a coherent whole and then realise you’re lost. And the idea is worn to shreds.
A brainstorming draft
If you’re feeling like Vanessa is, you have to see this as is a brainstorming draft. It’s full of other people’s solutions – some good for your book and some a bad fit.
A learning draft
It is also a learning draft – in it you learned how to sketch a character, how to show instead of tell, how to introduce back story without clogging the pipes, how to pace. You could almost view some of it as exercises that have helped you to write better – but some of those exercises will not be pieces that need to be in this book.
Now you will undoubtedly be more practised and more aware. You need to take control of this brainstorming/apprenticeship draft and make a novel out of it again.
As a BTW: one thing you find as you grow as a writer is that other people’s solutions are rarely right for you. You have to pay close attention to the problem they have identified rather than what they tell you to do. If lots of people are saying something is wrong it probably is. But their solution is probably not right for you, even if they’re an accomplished writer.
Get back to your vision of your book
First of all, have you had a break from the novel? Here’s how you can tell. Do you view most of the manuscript as a problem? If you read it through right now would you be beating yourself up for what’s not going right?
Put it away so that you can read it without wanting to have a row with it.
When you’re ready, don’t read that latest version. Find the material from before the crit group, when it was just you and your idea. I always advise authors to keep their first draft because although there will be much to blush about, there will also be glorious tumbles of inspiration. What can vanish after multiple revisions is the raw inspiration and even if you didn’t express it well when you first wrote it down, the spirit of it is usually there.
Read through this and enjoy your original idea. Look out for the interesting edges that have been smoothed away and make a file of them.
Now to your manuscript
Then read the latest version. Make a copy so you can mess about with it. Paste into a new file the sections that your gut wants to keep and that you feel are an improvement on what went before. Clip away those you feel don’t belong – but don’t junk them because they may be useful later or for another book. Don’t try to rework anything yet – just examine what’s already there.
Any sections you don’t mind about either way should stay in the original file. You now have 4 files:
- 1 initial gems with rough edges
- 2 gems from the reworked version
- 3 don’t-minds
- 4 rejects.
File 2 is your new essentials for this story. Now work out where the gaps are and how you’re going to join the dots. Yes it’s very much slimmer than the draft file, but it’s what you like about the book, in concentrate. Look at file 1 and consider how to add its contents in. Look at your ‘don’t mind’ file and figure out if you could work up any of the elements to fit with the new vision. From this you’ll build a new book that you do like from a draft you’re ratty about.
If you’re going to play with the story order a lot, you might find it useful to play the cards game from Nail Your Novel. If you’re not going to reorder you don’t have to worry about this.
Feedback is essential, of course, but you can get lost. This especially happens if you’re feeling your way, as first-time novelists are. While you have been writing with group feedback you have been putting the controls as much in their hands as your own. Now you’ve grown up a little, you have to close the doors, get to know the novel again and plan how you’re going to do justice to it.
Have you had experience revising with critique groups? And what would you tell Vanessa? Share in the comments
Thanks for the pic Hugo 90 on flickr
More about handling critiques and drastic edits in Nail Your Novel: Why Writers Abandon Books and how you can Draft, Fix and Finish With Confidence
If you’d like help with your own writing, my Nail Your Novel books are here. If you’re curious about my work, find novels here and my travel memoir here. And if you’re curious about what’s going on at my own writing desk, here’s my latest newsletter. You can subscribe to future updates here.