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I’m starting 2016 off strong! I’ve just completed and sent off the first round of revisions under official DAW Editorial guidance (as opposed to Connor’s editorial-agent guidance). Those edits are the reason I haven’t been blogging here much through the fall — I could never quite justify to myself writing a blog post when I knew I needed to be working on the novel!

If you follow a lot of writers on social media, you’ve probably seen them discussing revisions, most of which tend to boil down to the following sentiment:


Personally, I actually enjoy revising, as I’ve discussed before. It’s like a puzzle. But it can be frustrating, in part because it’s sometimes harder to track progress. It’s often charted in hours, as word count alone doesn’t really matter. You can think of it in terms of pages or chapters revised, but then you get to a point where something you change at one point means a change to four other chapters, so now those go from “done” to “undone”… and that can make progress feel a bit murky.

So! I thought I might share a little light on the process. Of course every writer’s revision experience is going to be different, but this is what mine looked like:

  1. Phone call with The Editor: A giddy thing! Much like my first phone call with my agent Connor, much of this conversation was just about the book in general — what the things were that had appealed to her about it (like me and Connor, she has a background in classics!), the characters and the world, things she had questions about, things she’d like to see expanded or explicated a bit better. One of the big things we discussed was about narrowing down the focus a bit.
  2. Editorial letter: I’m convinced at least part of the purpose of the letter is that editors know debut authors are too giddy upon that first call to retain many details later on. Sarah’s letter to me touched on all the major topics we’d covered in the call (at least to the best of my dizzied recollection), but went into a lot more detail, particularly when it came to the character notes she wanted me to try and emphasize. Some things were smaller aspects of my major characters — fleshing out threats and desires, finding places where a single line or paragraph might add valuable information — and some were about larger things for smaller characters — giving motivation enough to make villains and supporting cast alike fully-realized humans in their own right. There were also notes on pacing, which actually spurred my largest edits.
  3. Re-read the manuscript: I actually hadn’t touched Aven in quite some time, since we were out on sub for ten months before it sold. I did the first read-through in PDF, so that I wouldn’t be tempted to start changing things as I went. I just needed to re-familiarize myself with the story as it stood! I’m so glad I took this time, because it reminded me just how much I love these characters — and how excited I am for other people to get to meet them.
  4. Re-read again, making margin notes: I moved back to Scrivener for this. The Inspector feature is brilliant for things like this. I used the notecard to summarize what was already there, and then the notes section to jot down ideas on what could be moved, added, deleted, or changed in order to get the editorial notes working for me.
  5. Moodle: “So you see, imagination needs moodling, – long, inefficient, happy idling, dawdling and puttering.” – Brenda Ueland. I subscribe to the profitability of moodling, bu it’s also a thing to be careful of, because I also subscribe to another quote: ““Planning to write is not writing. Thinking about writing is not writing. Talking about writing is not writing. Researching to write, outlining to write….none of this is writing. Writing is writing.” – Robert Jolles. I find car rides an ideal time for moodling. It’s not time I could spend doing much else besides being in my brain. I’ve found many plot points and turns of phrase while winding my way around Afton Mountain.
  6. Major changes: The front quarter of the book needed more reconstruction than the rest of it — rather like knocking down a wall to create an open-concept in one part of a house, but only needing to spruce up the paint and add a little new furniture in the rest. I tackled the biggest challenges first. This sometimes meant having to keep more than one editorial note in my head at a time, but it also meant that I wasn’t wasting time writing things that I would just end up undoing later on.
  7. More moodling: This was the stage, honestly, that took the most time. After I finished the main restructuring, I needed time to sort out a solid plan on how to attack the rest. I did a lot of opening up the Scrivener document, looking at scenes and the editorial letter side-by-side, and just thinking. Sometimes I would take a single note and scroll through, looking for ideal points to address it. Other times I’d wallow in a single chapter. I was, slowly, formulating a plan of attack.
  8. Going in deep: And once I’ve got that plan, I can work swiftly. I dove back in, armed both with my Inspector commentary and some handwritten notes, and worked through start-to-finish. Well, nearly start-to-finish. There’s still often a lot of back and forth as I need to work through consistency errors, avoid repetitions, etc.
  9. Final read-through in hard copy: I always do this before sending a full manuscript off for anyone else to read, to reduce potential embarrassments. It also helps me make sure I haven’t missed any opportunities to take a note — I had the print-out of the notes with me as I did this read-through. Mostly, though, these were down to line edits. There were only a few places where I wanted to add a line or a paragraph; the rest was adjusting typos and finding small inserts and deletions. My habit is to mark the corner of each page that I alter, to make it easier to go through during the next step…
  10. Assimilate changes into manuscript: Back to the Scrivener doc! Merging all of my handwritten line edits back into the main manuscript doesn’t actually take all that long, I found. This is also where I do a search-and-replace of some of my most pernicious filler words. (Everyone has them; mine are “rather” and “somewhat”).
  11. Send it off!: Export, create a separate document with the tracked changes (a bit of a trick in of itself when you’re coming out of Scrivener into a .docx, but I’ve figured out how to do it in Word 2013!), glancce to make sure no formatting’s gone wonky, and then — off it went, to Sarah and Connor!

So! That’s been my process since mid-September. And now… I wait! There’ll be much more to do, I’m sure, once Sarah’s had at the fresh meat. 😉