It can be quite a challenge to know what to look for when editing our own writing. Sometimes we're too close to our own projects, sometimes we've just gone over it too many times to notice the plot holes, but there are some strategies that we can use to help us self-edit our book like an editor.
Take a break.
I will always, always recommend this between drafts. If I've just finished a draft, I need to let it rest for at least two weeks before going back in to revise--often longer. Taking time in between drafts allows me to come back with fresh eyes. It helps me to read as a reader, rather than as the author who knows all the details without them needing to be on the page.
Diving right back in can cause lines to blur. Sometimes I might forget that I've removed something from a draft and I revise with the notion that it's still part of the story. Sometimes I'll think I've described something only to discover later that I never mentioned it.
Breaks help to avoid this.
Read like a reader.
This one is particularly challenging for authors. We wrote the book. How are we supposed to read like we've never seen the story before? It often boils down to asking questions.
How does this passage make me feel? Is that what I intended? But the most useful question is "Why?" Why are my characters doing this? Why do they want to succeed here? Why does it matter? Why doesn't this scene feel like it's working?
Asking why gets to the heart of scene and character. I recommend diving deep into the whys. It's generally possible to answer why multiple times, getting more specific with each answer.
We also want to look at stakes. What happens if they fail? Stakes are integral to drawing readers in, so checking each scene for the stakes by asking the above questions will help us determine if the scene is strictly necessary or if it's veering off a different path.
Read out loud.
When all else fails, a change of perspective can really help. It can be a lot to read your whole book out loud, but it really does help to catch things our eyes miss. Especially when it comes to dialogue. Hearing the book makes awkward phrasing stand out like nobody's business.
Take notes while reading.
This is going to be the best tool for creating a revision plan. As an editor, when I read for clients, I have an Excel spreadsheet open next to me. There are multiple sheets for various aspects of the story, but the main ones are as follows:
Scene/chapter summaries
This includes the POV we're writing in, the scene/chapter number, the word count, and a summary of what happens in the scene.
Character guide
The layout for the character guide is similar. I note the name of the character, the chapter the note shows up in, and then I have two other categories. The first is for description. Any time the character is described by any character, I copy and paste it into the description column. The last is arc. Here, I make notes on how the character arc is developing throughout each scene. This helps me to track if each scene propels the character forward.
Setting guide
I have three columns. The first for the name of the location, the second for the chapter the note shows up in, and the third for the description itself.
These notes help me to look at the story from an external perspective. I can review the pacing based on where story beats come up. I can catch inconsistencies in descriptions and development, and I can pinpoint the specific places things differ or go astray.
I'll also take margin notes for things like pace and lack of description. As an underwriter, I end up with a lot of these notes.
Once I have the whole book read and notes made, I'll review them and start making a revision plan.
Revision planning.
Take a break (optional).
Some people like to take another break between notes and enacting revisions. Personally, I find that my revisions come out better when they're fresh in my mind. So I'll forgo the break here, but if it helps you, go for it!
Review notes.
As mentioned above, my first step in creating a plan is to read my notes. I can make a specific plan based on where the major holes are showing up. Often, it means starting with character and branching out, but not always.
Character arcs.
When I look at character, I want to review my notes for how the arc shows up throughout the story. I ask questions like Is this character starting and ending where I want them to? Does each scene further their arc, or do they learn something? Are they coming up against their third rail or misbelief frequently?
If the answer to any of these questions is no, it means I have some character work to do. As my books are relatively character-oriented, these questions are the most integral to a well-rounded story.
I'll make a plan to revise my character arcs based on where their arc starts to derail from where I want them to start and end.
Pace and story arc.
Once I've made a plan for revising the character arcs, I can block in the larger story arc. This will normally follow the main character's arc, but not always. Especially if there are multiple POV characters. This is when I need to clarify what story I'm trying to tell. Here I can look at the story beats and check if the pace feels right, if action sequences are followed by a dip so the reader can process, if the general action is a steady rise, etc.
I'll plot that against the story I'm trying to tell to determine if each scene is doing what I need it to. For example, if I'm telling a story about a girl who needs to learn how to love, but my fourth scene is about her having a deep connection with someone she just met, then maybe my pacing is off. I can go back and take a look at why. Maybe what she's feeling as love is really infatuation, but she doesn't know the difference. That slight variation can make the scene fit where it didn't originally.
Then I'll make a plan to revise the story arc alongside the character arcs to smooth everything out. Sometimes this means adding things, other times it means removing things. Sometimes it's a simple change of focus like the example mentioned above.
A special note here: I find it easier not to delete any scenes. Instead, I'll cut and paste them into a new document. This allows me to have a backup and a reference in case the new scene also doesn't work. I can compare the two. It also makes me less nervous to start a scene from scratch and lowers my attachment to the words themselves.
Consult a friend.
During the times I know something needs to be revised, but I'm not sure how, I'll phone a friend. For me, it's often a matter of getting out of a stuck mindset, so having an external perspective of the possibilities breaks me out of that box.
And then I'll start revising. I know, easier said than done right? But at least now I have a map to follow.
I hope there are a few tidbits in here that can help make revising less daunting.
Happy writing,
Erin
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