Revising in the Home Stretch

I know what method of working has made the first 2/3 of my mss better. I’m just getting tired.

Don’t get Lazy Now! I’m on the last third. I know that I must rewrite a major scene for a subplot/secondary character climax. But much of these later chapter are in good shape. By now in the story, so much is set, the stakes are established, character arcs and plot arcs are underway, the scenes are focused and full of tension. My inclination is to avoid the work!

But I think it’s still essential to question everything! Runners know you can’t stop until you’ve actually crossed the Finish Line.

Questions I’m still asking myself:
Is this scene essential to the story line?
Is there a better way to present this scene?
Is there a better way to set it up?
Can I raise the stakes?
Is the dialogue snappy enough?
Could the reader possible be confused at any point?
Are the emotions still building?
Are the characters’ actions exciting?
Can I improve the language at any point?
Are descriptions static or full of emotions?
Can I connect scenes in any way?

Of course, each scene presents new challenges, so these are only a few of the concerns at this point. The main problem is to not rush this last section, to slow down and take each scene very seriously, as if this scene might prevent the entire book from working well. It’s very, very hard. I want to be finished! But I’m trying to keep to the working method that worked and trying to keep myself focused and working.

Goodreads Book Giveaway

Wisdom, the Midway Albatross

by Darcy Pattison

Giveaway ends March 11, 2012.

See the giveaway details at Goodreads.

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ROAD TO TATER HILL by Edith Hemingway

Introduced first in 2007, debut children’s authors have formed a cooperative effort to market their books. Last year, I featured many of the Class of 2k8 on Revision Notes, as they told the stories of how 2k8 Novels Were Revised.

Today, I’m glad to continue the 2k9 Series of novel revision stories.
Class of 2k9

“When your editor says your character isn’t stepping up to the plate…” by Edith M. Hemingway, author of ROAD TO TATER HILL (Delacorte Press, September 8, 2009)

Structural Changes?

I consider the process of revision to be the true meat of writing. In fact, I revised my middle grade novel, ROAD TO TATER HILL, for three years before I decided it was finished and polished enough to submit to an editor. So, when I heard from Michelle Poploff, VP and Executive Editor of Delacorte Press, that she was interested in talking to me about my manuscript, I was confident that if she wanted it, there would of course be changes, but surely not major structural revisions.

She was interested and wanted to set up a telephone conversation a week later. I asked if there was something I should be thinking about in terms of revision before we talked. She said, “My assistant and I think your character, Drew, isn’t stepping up to the plate. We’d like you to consider removing him entirely from the story.”

I was thankful this was communicated through email and not face to face or over the telephone because there would have been a groan, a gasp, or a fleeting look of panic. My immediate reaction was, “How on earth could I take my brother out of my book?”

What I neglected to say earlier is that the seed for ROAD TO TATER HILL was my own childhood experience of the premature birth and death of my baby sister. Since I started writing it as a memory of an emotional childhood incident for a creative writing assignment, of course I included my older brother in the story. He was a significant part of the whole experience within our family. As the story evolved into fiction and took on more characters and an actual plot and story arc, the brother in the story tagged along, too. We had always been close, and I could not imagine life without him for either my character, Annie Winters, or me. However, the student in me that constantly strives to improve my writing urged me to be open to all suggestions—especially those from an experienced editor.

Yes, to Editor’s Suggestions

By the time our telephone conversation rolled around, I had come to terms with the change and realized the loss of a longed-for baby sister would be all the more poignant if Annie were an only child. I had even taken the necessary steps to mark every point in the story where Drew had appeared physically, through dialogue with other characters, or by reference in Annie’s thoughts and memory—especially those scenes where he played a significant role in driving plot points. Drew had appeared in 81 pages out of the then 154 total. I had also figured out the perfect character to beef up and take over the plot points that Drew could no longer control—Bobby Miller, the neighbor boy, who not only now became Annie’s best friend, but also added an interesting boy/girl dimension to the story.

Michelle and I talked for nearly two hours—going over those ideas in addition to many other lesser points and clarifications she needed. She ended the conversation by saying she would mail back my manuscript with all her written comments and suggested I think it over for a couple of weeks to decide if I wanted to move forward with these revisions. I did not tell her then that I had already decided—of course I would make those changes and even take them a step further!

Taking Time to Plan Revision

Once I received the manuscript, I spent several days reading through and taking meticulous notes. Then I put together a 4-page revision strategy list which included 9 detailed character improvements, 17 other considerations based on Michelle’s questions, a clarification of the time span of the entire story, and a plan for resequencing some of the major scenes.

Before scheduling our next telephone conversation, I emailed this detailed revision plan to Michelle, so she had time to look it over first. When we talked, her first words were, “You’ve really stepped up to the plate.” I had demonstrated that I was ready, willing, and able to make the revisions they wanted, and they were ready to offer me a contract, even before I completed the revisions.

Yes, there were more revisions required after I finished the first round and even before we reached the copy-editing stage. I even rewrote the entire novel in the first person point of view in order to dig deeper into the emotional core. It sounds as if I made every single change my editor suggested, but no, I didn’t. There were a few ideas that just didn’t ring true to my characters, even though I tried. In those cases, I came up with alternative plans that worked as well or better. I also learned that revisions often need to be done in layers, rather than all at once. One change perhaps leads to another change, which in turn reveals another problem that must be fixed, and so on. The hardest thing for me is to know when to finally stop revising.

I firmly believe, however, that my willingness to trust my editor, listen to her suggestions, and follow through with revisions was critical in landing my first “solo” contract!

Edith M. Hemingway
mistylodge@verizon.net
Road to Tater Hill
Delacorte Press, Sept. 8, 2009

http://www.classof2k9.com

Goodreads Book Giveaway

Wisdom, the Midway Albatross

by Darcy Pattison

Giveaway ends March 11, 2012.

See the giveaway details at Goodreads.

Enter to win

How Many Times Do you Revise?

When do novel or picture book revisions ever end? I’m always a new person, with a bit more knowledge and a bit more life under my belt. I could always make changes to the story. When do you know it’s time to submit your baby?

• My Best. When I’ve done everything I can right now. I try to revise as many times as necessary to get it right. If I’m happy with the story as it is, and I can’t think of anything else to try. And when I do try, it seems to mess it up, then I quit. For me, there’s also an emphasis on RIGHT NOW. Ten years from now, I’d do the story different, but RIGHT NOW (which is the only time we really have), I’ve done my best.
• Cool off. When I’ve let it sit for a while and still can’t figure out anything to do. Now this? I’m not so good at letting it sit. I want it out and accepted and published! But rejections have forced me to get better about letting a mss cool off. Time sometimes shows you what you couldn’t see before and you’ll know exactly where to revise. It might even, if you’re lucky, give you the right approach to improve the mss.
• Critique Group. When my critique group agrees with me. Ha! That doesn’t happen often enough. Sometimes critique groups make me feel like I’m back in junior high gossiping. As my son says, I don’t like all the drama. BUT, for the sake of my mss, I not only put up with it, but I encourage it. I need it. After a gossip session, though, I go away and consider and process and then approach a revision my way. Sometimes, it incorporates ideas from others, but in a different way or with my own twist. If I’m wise, though, I wait until my critique group likes the novel or picture book mss and then I send it out.
• Never. Some old novels and picture book mss are still in my file drawer. They need massive rewrites, I know. But for various reasons, they’ll never get what they deserve: the impulse for the story is gone, the story isn’t marketable today, I’m bored with the characters/voice/setting/plot/whatever. OK, I’ll admit it. Some sit because some critiquer made a remark that stopped me cold. Some sit because I don’t believe myself capable of doing the story justice. Some sit because, well, just because. Not all stories are meant to be shared with the world.

Be brave! Submit.

Goodreads Book Giveaway

Wisdom, the Midway Albatross

by Darcy Pattison

Giveaway ends March 11, 2012.

See the giveaway details at Goodreads.

Enter to win