Writing Resource Roundup: Revision

Since I started revising my own novel a few weeks ago, I figured the resource roundup for this month should go in line with whatever I’ve been looking up. I may be an editor, but editing your own work is entirely different from editing someone else’s work. These resources are for your own self revision! There will only be a few resources, though, since most of the advice intersects from each of the individual posts and articles.

How to Edit Your Story Like a New York Publisher by Pamela Hodges from The Write Practice

5 Key Questions Writers Should Ask When Revising Writing by Debbie Harmsen from Writers Digest

How To Revise Your Plot in 3 Easy Steps by Tomi Adeyemi

The Best Way To Revise Your Novel by Tomi Adeyemi

I have been obsessed with Tomi’s resources since I discovered her site, and these three posts are so helpful with revising. I also recommend checking out her worksheets and resources for writers!

Self-Editing For Fiction Writers by Renni Browne and Dave King

This book has ample information on editing your own fiction. I will say that it’s less developmental and substantive editing, and more focused on line editing, but I believe it’s still an invaluable resource for writers in any phase of their writing.

Also, here’s a sneaky self-promotion: I have written on developmental edits and line edits!

Do you have any resources and tips for your own revising?

Self-Editing Tips: Line Edits

Often, people are confused between line editing, copy editing, and proofreading. Line editing is the most “creative” of the three: it deals with how the craft carries the story.

Line edits are typically what I myself get caught up in while writing, when my inner editor is more in control than the writer. I stress over word choice, phrasing, and always ask, “Is this the right way to write this?”

Copy editing and proofreading are separate from line editing, and they’re vastly more technical than line edits.

So how to do line edits?

First, you must read through your story. You should already have done this in your developmental edits—which come before any line edits—but reading through after the revisions is key for line editing. How you read the story is up to you: you can do a cold read-through, use digital formats, print off your text in order to attack with a red pen, make notes on paper or voice recording…

However you read through your post-substantive-edits story, you absolutely need to read through it. Either during or after your read-through, remember the tips below.

Remember your audience.

Demographics are important to your book. Age ranges have varying levels of diction. Picture books have a language level to them, as do adult fiction. While you read through your story, remember who you’re writing for. The level of propriety is up to you and your own factors, but line edits are the time to consider how your target reader will read your writing.

Consider your voice (but don’t force one).

When you read through your story, notice the lines that jump out to you—in a good way. These tend to be emblematic of your voice. When they jump out at you, it’s yourself waving back. You feel a connection to them. You can analyse however you like, but as long as you can recognise a sentence that feels like “you” and your writing, you’re on your way to developing your own writing voice. Don’t try to create a voice for yourself based on your preferences or an ideal style. We all have our own patterns in language and those fall into our writing and speaking.

Ask yourself, “What is this phrase, paragraph, or scene trying to convey?”

Your writing always has a purpose. It doesn’t have to be a grandiose or epic purpose of high stakes and emotion. While you do line edits, be aware of sentences that feel empty, rather than adding to the scene. These sentences are usually repetitive of earlier writing, or purely filler in order to get more words in.

Aim for specifics over flourishes.

The difference between creative phrasing and purple prose is one of specificity. When a writer can use a specific word in place of a lengthy, flowery phrase, they are able to focus on smaller, concrete details. Use specific words and you don’t have to overcompensate with more words than necessary. Filler words (like conjunctions, prepositions, and adverbs) all add bulk instead of meaning. The passive voice is one way to add more words. Look for places in your writing where you over explain or over describe. Can you get more specific with your words?

Use minimal passive voice and “to be” verbs.

As mentioned before, filler words add bulk that muddle the writing. Passive voice, the elusive beast, thrives on them. Passive voice has a slow rhythm whereas active voice has a quick one. It’s up to you when you use active or passive, but remember how they flow. Here’s an example:

Active: Passive voice syntax needs more filler words.
Passive: The syntax of passive voice is filled with more words.

Your writing will need “to be” verbs (is/was, are/were) at times, but often, they are written in the passive voice, and are replaced when a sentence is rephrased. Let’s try that again: They show passive voice, and strong verbs replace them when writing is rephrased. A professor of mine described “to be” as an “equal sign” in the sentence. “X = Y” is the same as “X is Y.” See if you can change the verb or rephrase the sentence to remove “to be” for a more multifaceted sentence, and a verb that does more duty than an equal sign.

Read aloud.

You don’t need to do a dramatic reading. Even mumbling to yourself while you read will help you catch the flow of your words. We learn to speak before we learn how to write, and how we hear influences the way we read.

Reach out for opinions of other readers, writers, and editors!

This last tip doesn’t mean it should be after you’ve done everything else. Take to Twitter or a trusted friend and ask them about phrasing. Often, you’ll receive feedback you’d never have considered. For instance, due to my background in linguistics, I love giving feedback for my preferences in syntax, which is something not ever writer is in-tune with.

Your line edits look at word choice, sentence structure, paragraph structure, tone, and how you craft your writing. Ultimately, you’re editing in order to say something the best possible way.

Do you have any tips or tricks for how you do line edits? Share them below!

Self-Editing Tips: Developmental Edits

A book, latte, and pen on a wooden table with text overlay reading Self-Editing Tips: Developmental Edits

So, I recently finished a rewrite of THE PILGRIMAGE. This is the draft I’ll be revising in a few weeks, and I figured I’d share some self-editing tips, both for my own reference and for yours! In case you didn’t know, I edit stories. I’ve learned a lot through editing other people’s stories, as well as tons of workshopping in my university program.

When you first start revising a book, you must start with developmental edits.

Developmental edits are concerned with the skeletal issues with your story: plot, character, and structure. (Theme is also included, but that can be tweaked through every stage of edits.)

Here are some of my tips for doing your own developmental edits!

Do a cold read-through and make notes.

Before you even start revising the story, read through it and make notes on plot, character, and structure. Don’t do any edits yet—instead, see where you have plot holes, where the conflict lessens, and how much you’ve characterised your cast.

Pin down your story as either plot-driven or character-driven.

Knowing the priorities for your story will help immensely. A plot or action-based story will necessitate different focuses than one based on the characters. To figure out which one your story is, ask yourself the question, “What is my protagonist’s goal?” If it’s something personal, your story is character-driven. If it’s something external, your story is plot/action-driven. For example, if the goal is “Successfully navigate high school,” then it’s personal: it deals with just the protagonist. But if the goal is, “Successfully save high school from demons,” your story relies on action. Character and action will both be important, but at this stage, you need to figure out which one will help you plot out the conflict.

Consider beta readers or critique partners.

Feedback from outside sources is invaluable for revising your story. You know the story in a way that’s completely different to your peers: there’s more in your head than on the page. I highly recommend taking on a few beta readers and critique partners to help give you opinions on character, plot, worldbuilding, stakes, conflict, etc. Sensitivity readers are also recommended. They look for specific problematic content that you can’t experience in your identity.

Resist the line edits!

Developmental edits are for the big picture. Who cares about your typos or sentence structure right now? It’s hard to avoid tweaking details in order to feel like you’re making progress to the finished draft. However, you must consider the broad strokes of your story before you look at the finer, smaller elements.

Breathe.

You can get through this. Your story was drafted over a period of time where you were inevitably growing. You need to remember that you changed as you wrote the story, and you’re working to get it to the best quality you can in the present.

Look into editing resources.

Other writers have written about their processes, and it’s always helpful to find more information on how to do it!

KM Weiland has a wonderful 15-step self-editing process she uses for her fiction.

“How to Self Edit Your Novel” from Fantasy Scroll has suggestions for your self-editing (and has a differing point of view to my list, with their first suggestion being typo fixing!), and also includes more resources and references.

Now Novel has a handy infographic for self-editing.

The book Self-Editing for Fiction Writers has been highly recommended to me. It’s on my TBR!

And finally…
Contact your editor.

If you have hired an editor to help with your project—which I also recommend—keep in touch with them while you work on your edits. I strongly recommend hiring an editor. Beta readers and critique partners are helpful, but they often look at your story through a reader’s point of view. While this is helpful, experienced editors have a more intimate knowledge of craft and the skills to impart that knowledge to you.

I wish you the best of luck in self-editing and making it through developmental edits! It can feel like your story is a pile of trash and has lots of problems, but you can fix them and make your story the greatest it can be. (I’ll have to remind myself of this when I get to my own novel in a few weeks… *gulp*)