I’m sure you’ve heard how writing a first draft is akin to running a marathon. If so, then revision is like completing an Ironman Triathlon. It pushes your writing muscles to unimaginable lengths. But like any endurance sport, half the battle is overcoming your mental limitations. So today, I want to address some mental tools that I’ve used.

The graveyard: There’s nothing more difficult than selecting an entire chapter and pressing that delete key. I’ll admit there’s even been times when I bend whole scenes to work in that perfect joke. I know a lot of writers do this. It’s understandable. We’ve poured blood, sweat, and precious time into those letters and to kill them seems inhumane. However, most of the time, they’re bad for the manuscript.  So what I do is every revision I create, I make new document called THE GRAVEYARD. Now, instead of the delete key, I cut the chapter and paste it into here. The idea being that all that good stuff is there for me to come back to should I need it. Honestly, I rarely use anything from these graveyards, but it eases my mind to know that my darlings live somewhere, even if in purgatory, and lets me focus on what I need to do.

Separate yourself from the words: Sometimes, I fall in love with my own work so much that it’s hard to asses the story, arcs, etc. when revision time comes. Or sometimes, the opposite is true where every word flat out stinks. Neither is a good position to be revising. That’s why it’s critical to practice techniques such as Talia’s outline or Katherine’s index cards. Mentally, it removes us from the text enough to see the structure, the arcs, and the holes.

Note…I think a lot of pantsers cringe at the outlines and the index cards because, well, it’s not the way they are hardwired.  As a plotter, I resist redoing these techniques because I did them at the onset – though, inevitably, things changed from what I had planned and the original exercises are no longer 100% correct. But, pantsers: DO THEM. And, plotters: REDO them. It’ll help you see things clearly and you’ll save time in the long run.

Be a sniper, not an A-bomb: Most the time, revision is about tweaking and massaging, rather than blowing the whole thing apart with a complete rewrite (of course, sometimes it might need that – just don’t start with that mindset). A well-crafted, perfectly placed line line will clear up that confusing plot point, character’s motivation, or world building detail. Suddenly, the whole issue is resolved. Of course, it’s not easy to find these sniper points, but keep pouring over the text to find them because, over all, it’ll save you a ton of rewriting.

Drink from the fire hose, but on low flow: Revisions are often overwhelming. If the issue is about a character arc or particular plot thread, it likely resonates through the whole work. Add a few of these and I find myself going, “by golly, nuke the whole thing and begin again.” Stop before you toss any babies out with the bath water. Try to separate all the changes into different buckets, then go over the story and just focus on that single thing. When you finish, hit the next bucket without looking back. Like anything in life, most challenges aren’t so hard when you break them down into manageable chunks.

What other kinds of mental tools do you employ?

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Oh, and just because you're my captive audience...here's my favorite picture of my new lil'guy (that's my hand!)

Sometimes the most important part of a revision is to get into the right mindset.  This is a recap of Veronica's SCBWI presentation excerpted from a previous post about finding that mindset.

Much of the time revision is difficult work. Yes, I said work. Important work. My husband tells me that the last 10% of any undertaking is always the hardest part and I'd say that's true here (although I can't be sure I only have 10% to go... Might be closer to 15%) The point is that lately as I begin my writing days I feel a bit as I'm going into battle. It's something of a new phenomenon for me. Usually, I'm slavering to get to writing. (Yes, I did just use the word slavering. That's another side effect of revision brain. Random word choices.) So I've developed a few habits that help get me going. I'm sharing them with you in case you find yourself in a slow groove, when getting started is tough.

1) Leave home - In general, at my house these days, there's more laundry in the hamper and less food in the refrigerator. One day, I didn't even make the beds. (This is unheard of for me.) I am a stay at home mother, but what's happened in becoming a professional writer (OMG I can't believe I just said that) is that, well, I have to be a pro. Just like my editor. This is my priority now. It's always been up there. But now, I'm a writer first and foremost. The laundry and groceries will get done. But until the revision is complete and returned, the writing needs to take precedence. By leaving home and going to my parent's house or a coffee shop, I don't see all the tasks that could suck me away from important time on my manuscript. (Side note: I used to work full time, as I am now on this revision, but I've never done it before as a mother. And I have to say, I want to give all you working mothers out there a giant hug and then a day at the spa. You're all amazing. Oh, and p.s. any tips on juggling home and work are greatly appreciated.)

2) Music - Quite simply, it puts my head in the right place. For this story, I've been gorging on Kings of Leon, Bach's cello concertos, and opera. Yes, opera. It's a long story... about 365 pages or so. You can read it sometime in early 2012.

3) Walks - When I'm struggling, a walk around the block does wonders to shake things loose. Reminds you there's a big world out there, with lots of other things happening, and you know. Don't take yourself so seriously! You're going to sit down to WRITE, for goodness sakes! How lucky are YOU???

4) Freedom - This is a downloadable program that lets you set a timer in which your computer is taken off line. No facebook or twitter = productivity. I think a simple google search will pull it up. Or you can just turn off your wi-fi.

5) Photos - I have a file for all my research photos for UNDER THE NEVER SKY. There are pictures of people who remind me of characters, places that look like the settings I'm trying to create, etc. Browsing through these can help me get in the zone.

6) Reading - Sometimes, picking up a research book will get me excited or spur a fresh idea. Also, I have what I like to call an author-trainer. He has no idea he's my trainer. But he is. His name is Justin Cronin and he wrote THE PASSAGE, which was out this summer (along with several other award-winning books.) I love Justin's third person voice. Something about it really resonates with me. When I read a few pages, I get inspired. It's like Justin is going, "Come on. You know you want to write like this. Get moving, V. You got this. Blood, sweat and tears, V! Get off your lazy---" OK, actually I'm sure Justin is much nicer than this. But that's the feeling I get when I read a bit of his writing. So thank you, Justin.

7) Indulge in a little self congratulation - When it's really tough, I go digging for all the positive comments I've received on my writing. It's like the opposite of a pity party. I look for my editor's praising comments. I'm so fortunate to find these readily in my emails and notes with Barbara. Those comments can give me a real shot of confidence to get back to work. I might throw out an email to good friends or the Muses, looking for a little validation (Muses & dear writer friends - you rock). And I might, just maybe, make a little comment on the phone with my super-agent, Josh Adams, who's always ready and willing to dispense with some encouragement. Folks, we all need a little dose of the positive here and there. Don't be afraid to remind yourselves of the progress you've made. Feeling good never hurt anyone.

8) Read something that's yours but fresh - This one I just remembered, but I'm going to try it this morning. When I dig up old projects that are forgotten and dusty (virtually dusty) with age, I see that, yes, I can in fact write something decent. I know that sounds silly, but when you get close to a manuscript, you're looking for all the mistakes and weaknesses. You get so close that these are the only things you see. Reading old writing can remind you of the point, which is to tell a good story. To string together words in such a way that some kind of magic happens, and they aren't words anymore. They become a person with a particular kind of personality. A person with a problem, or a need. They exist in a place that you can see and smell and even feel with your hands. That's good stuff, knowing you can do that. And if you've managed it once, well, you can do it again.

All right. Those are my tricks. I meant to wrap this post up nicely, but honestly, just writing about getting inspired has gotten me inspired. It's time to get to work.

Go forth and write!

The Muses had the great pleasure of giving a panel on revision tools at the Northern California Central SCBWI Spring Spirit Conference over the weekend.  I presented my revision checklist, which continues to evolve as a method of revising.  This process is not set in stone, and I have been known to change the order of things, combine steps or throw in some new ideas. 

This post originally aired on December 10, 2010, but I've revised it somewhat to include some additional thoughts on each of the steps.

   1.The Outline:  I don’t always use an outline when writing the first draft, but I always do one immediately after the first draft is written.  Instead of reading through the entire first draft, I do a skim-through, creating a separate document that will become my map for big picture plotting revisions.  I create a table, with a row for each scene, a column describing (in 1-2 short sentences) the major plot points in the chapter, and a column for notes of things that I already know are problematic from a plot standpoint, such as missing scenes or details that need to be included in order for later scenes to make sense.

Chapter 1	Short description of action/scenes in chapter in 2-3 short sentences	Notes for revisions
Chapter 2	Short description of action/scenes in chapter in 2-3 short sentences	Notes for revisions

2.            2.  The Big Picture Plotting Revision:  Now that the outline is done, I read through the scene descriptions in order, to see how the story flows from a plotting standpoint.  Does the story build to a climax?  Are the major plot points resolved?  What about subplots?  Do they carry through the entire novel?  Do major characters disappear for long stretches?  Are there chapters or scenes that aren’t moving the story forward?  The outline takes up less than two pages and it’s much less intimidating than a 300 page book.  I’m also a visual learner, and the outline really helps me visualize the plot trajectory of the book.  At this stage I look for scenes that need to be cut or rewritten, and also look for scenes that are missing or need to be added.  I then add rows for new chapters or scenes and describe them in bold, so I know I still need to write them.  I cut scenes that aren’t working with strike throughs and add new suggested scenes within the outline, until I have a plot that I’m happy with.  This is all done is broad strokes, within the two page outline, and saves me having to actually cut or revise scenes until I’m satisfied with the big picture.  There is no point revising every line of a scene that isn't going to be in the final book.

I also look at where the plot is at the 1/4, 1/2 and 3/4 of the way points, to see if I am hitting turning points and act climaxes.  At the 1/4 point, I should be through the first act, and the character should embark on the journey that will take them to the climactic scenes at the end.  At 1/2, the main character should have an emotional turning point of some kind, or make a discovery that is unexpected.  At 3/4, the character faces the darkest hour, and must regroup for the climactic scenes in the last 1/4 of the book.  These are rough points that don't necessarily have to hit exactly, but they should be close. 

At this stage, I may also create a separate chart for each major character, which includes only the scenes those characters appear in.  This helps me evaluate the relationship arc with the main character, and know if I have a good balance of scenes based on the character's role in the story.  For example, I want the main love interest to have more scenes than the secondary love interest or a more minor character, and the relationship arc should move forward, with some setbacks along the way, as opposed to repeating the same kinds of scenes over and over.

3.              3.  Plot Revision-Back to the Manuscript:  Now that I’ve decided what needs to happen with the plot, I go back into the manuscript and make the revisions I’ve noted in the outline.  I add scenes in the places noted , and take out any scenes slated for cutting.  It's not as painful to cut, when you have a clear path for your plot already laid out.

4.             4.   Pacing/Conflict Revision:  Now that I’ve done a big picture plotting revision and gotten the plot/scenes that I want in the book, I scale back to a scene by scene revision for conflict and pacing.  I’ve described the process as revising for suspense here.   I use the outline again, but this time, I create a new column next to each chapter where I identify the conflicts for each scene.  Now I revise the chapter with those conflicts in mind and make sure that there are some setbacks and tension builds in each individual scene. 

     

      A great way to increase pacing is to start the scene later or end it earlier.  Look for long speeches or long descriptive paragraphs, and see if you can shorten them. 

5.              5.  Setting Revision:  Now that the scenes are working from an overall plot and tension standpoint I go through the entire book to add sensory details in each scene.  My rough drafts are usually dialogue heavy and sparse on descriptions.  If you write a lot of descriptive passages, you might want to take out some setting details. Focus on two or three details that are important to the scene, character or plot.  Let the reader fill in the rest. This is a great time to look for ways to use setting to emphasize themes or add tension to the scene, but using images that mirror or contrast the emotions and conflict in the scene.

6.             6.   What the MC is thinking Revision:  I write in first person, but that doesn’t mean that the reader knows what the main character is thinking in every scene.  I go through each scene and look for ways to give clues to the main character’s reaction, whether it’s through emotions, actions or physical reactions.  A little telling is sometimes beneficial here, if used sparingly.  This is one of the last revisions I do, and I always love the book so much more after this one.  It will add depth to the characters and story.

7.                7.  Line edits:  Now we’re getting into minutia.  I try to do line edits as I go through each scene in the prior revisions, but now is the time to use the find function on your word processor to look for overused words and descriptions, eliminate passive voice (not all-just what doesn’t need to be there) and cut back on gratuitous adverbs and adjectives.  This a great time to think about first lines, dialogue and dialogue tags.  This also the place for the big read through.  I read the entire manuscript through from beginning to end, on paper, making edits with a pencil.  Reading aloud is a great way to catch awkward phrasing or unnatural sounding dialogue.

8.             8.   Send to trusted readers:  This part of the process can’t be skipped.  A reader who you trust to be honest and give constructive feedback is priceless.  This could be a critique partner, an agent, a family member or friend.  I rely on other writers (hi Muses) because I know I will get more than a vague I liked or didn’t like something, and they will point out plot holes, pacing and voice issues that I am too close to see (or have been avoiding).  Some writers only want the criticism; they want to know what needs to be fixed.  I need readers who will point out what is working as well.  And I know I can trust my readers to encourage me as well as help me improve the story.  Listen to the feedback, but keep it in perspective.  You can't please everyone all the time.  Trust your gut and your vision, but accept what rings true.

9.              9.  Repeat:   With valuable feedback in hand, the process starts again.  The only exception is that I think it’s important to have a new set of trusted readers when you get back to step 8.  This is especially true if you had plotting or pacing issues the first time around.  You need fresh eyes who won’t be influenced by what they’ve read before.

That’s my process.  Of course it’s all subject to revision.

Last year, in an effort to be more of a plotter than a pantser, I read SAVE THE CAT by Blake Snyder.  This book is intended for screenwriters, but with a little imagination and a bit of adaptation, can be used by novel writers, as well.

Except for me.

I'm a pantser by nature, and wasn't able to escape it with Book 2. no matter how hard I tried to follow Snyder's formula.  But one thing his book did teach me was this:  I was on the right track as far as revision goes.

I've been using Snyder's system of writing each scene on an index card for a while.  It gives me a solid and specific reason to break my entire novel down into scenes -- and analyze them -- as well as a tactile and visual layout of how the plot progresses.  And from there, anything can happen.

This is what each index card looks like:

• Each card must contain one scene and one scene only.  And it will be easier to find within your manuscript if you have the page number at the top!
• List every character in the scene.  I like to use a different color for each character, so when it comes time to lay out the cards in my story board, I have an immediate visual reference of where every character is.
• A short summary of the scene as a reference for the writer only.  No one else needs to know what you're talking about as long as you know.
• Every scene should have a conflict or source of tension.  If it doesn't, flag it, so you can add one. Or delete it entirely.  Ouch.

Once I have an index card allocated for every scene in the novel, I lay them out on a story board (thanks, Mr. Snyder, for the term!) according to the three-act structure.  Talia has a fantastic summation of the three-act structure in her Sequences and Setpieces post.

My story board will then look something like this:

Notice the gaping hole in the second half of Act Two.  This is because I pantsed my way through my first draft and jumped directly to the climax from the crisis.  Having the story board to help me visualize this proved to be invaluable.  By using this tool, I was able to move scenes around, figure out where to add new ones, and discover which characters went missing for chapters at a time.  I may not be able to plot in my first drafts, but I can certainly work through it in a revision.

I hope this helps!  If you need more information on story boards, the three act structure or turning points, be sure to read Snyder's book, but also take a look at THE WRITER'S JOURNEY by Christopher Vogler and PLOT AND STRUCTURE by James Scott Bell.

And thank you all who came to the Revision Toolbox panel at the SCBWI North/Central California Spring Spirit Conference on Saturday!  It was wonderful to meet you, to share ideas and answer questions, and best of all, to soak up the spirit of creativity.  Best of luck in your revision!