I’ve stepped away from my novel long enough to be able to look at my critique partners’ comments and plunge into rewrites. I’m no longer as fond of my words, my chapters, my “babies.” I’m ready to dig in and make my manuscript better.
When I’m in writing mode, I have to be passionate about my characters and story. I “hear” them and I’m excited about what they’re doing and why. Sometimes, they endear themselves to me a little too much. When I go back to edit, they weren’t always as witty as I thought they were, and the time they spent bonding together in the car gets a little long and dreary. If I were a reader, I’d be saying “When will we get there?” If a scene doesn’t have enough tension, if it doesn’t move the plot forward enough, I need to be objective and cut it. More especially for me–since I tend to write lean–I need to fill in more internal dialogue and description so that the reader can hear the same character inner thoughts that I’ve been listening to since I started the book. I try to remind myself, during edits, that readers turn pages because of tension and emotional impact. Plot’s great. It drives the story, but it’s not enough. Have I delivered? Did I make my characters believable and real? Would a reader care about them enough to follow them through a second book, if I’m writing a series? Will the readers miss them when the story’s over?
A fellow blogger whom I read has developed a novel approach to editing. The linear, from start to finish approach, isn’t enough for her anymore. She has some great tips on editing, ways to make the middle of your story stronger. https://suebahr.wordpress.com/2015/07/13/a-rebel-with-a-cause/. Rewrites, for me, are about honing a novel until I’ve made it as good as I know how to. It’s when I look at the foundation of the story, as well as the fine points.
Did I start with a great hook? It can be in your face or subtle, as long as it grabs you.
Did I deliver the set-up soon enough? Anymore, lots of books state the protagonist’s big problem in the first paragraph or by the end of the first page. It tells me what this book is about.
Did I create the perfect setting? Will it flavor every nuance of the story?
Did I create protagonists the reader will care about? Are the stakes high enough? Does my main character have to struggle and change to achieve his goal?
Did I people the story with minor characters who have goals/problems of their own? Are they distinct? Memorable? (I read a post on Writeonsisters.com that gave great advice on creating characters. I like it for more than just POV: http://writeonsisters.com/writing-craft/5-tests-for-writing-multiple-povs/)
Did I add enough sub-plots to keep the story afloat? For a novel, I like to have at least two sub-plots, more if the book’s really long.
Did I add enough tension in EVERY scene to keep the pacing tight?
Were the plot points strong enough to keep the story afloat? Did I have an inciting incident, then two twists, and finally a final showdown and wrapup?
I’ve talked about all of these things on this blog before, but I’m in rewrite mode. All of the above is floating around in my head. And those are just the foundation pilings. Grammar, language, and imagery all come into play, too. That’s why rewrites take time. And that’s why they’re so wonderful. Rewrites help you tweak your tale from the basics to the “much, much better” and, if you’re lucky and persistent, topnotch.
(I’m still playing with my writing experiment on my webpage, and I’m still having fun with it: