I’ve been revising. A lot. I recently sold a short story I’d started in 2006 to an amazing anthology, and even though I’d rewritten the piece a number of times in the intervening years, it still wasn’t quite right.
Only I’d gotten too close to see what wasn’t working, and so had my critique partners, who’d read a few drafts. So enter the wonderful anthology editors, who got right to the point and showed me exactly what needed to go.
Once I got that story cleaned up and turned in, I moved on to another piece I’d written last year. The Sirens had critiqued it, but I’d never gotten around to revising. Now that I am, it’s amazing how spot-on and vital others’ comments can be in helping you fix your own story.
All that said, here are some thoughts I’ve compiled over the past few months.
- You absolutely need others’ eyes. I don’t care if you’re a gigantic name splashed over the New York Times bestseller list for forty weeks in a row with rights sold all over the world. (May we all be so lucky.) You need others to show you where holes remain in your work, where you can tighten things, where you can and should cut.
- Trust your own writing. In the anthology story, I’d repeatedly shown a character doing/feeling something and then gone ahead and explained it. (To be fair, a lot of this was holdover from previous drafts. See above about being too close to to the material.) If you’ve done your job right, you don’t need to explain these things to your readers. They’ll get it from context.
- Sometimes even those of us who tend to write in more poetic voices can have the most impact by saving those poetic images for the actual magic/supernatural moments in our stories. Not always, but it’s something to consider.
- One clear image is much sharper and more effective than a jumble of two or three. That undercuts their power.
- You don’t automatically have to kill your darlings—you should like what you’ve written!—but you do need to make them work for you. If you can’t find a way to do that, then yes, cut them. I’ve heard it said that each scene should either develop character or advance plot or establish setting (ideally all three), but I’d add that this pertains to every sentence, too. Make your pretty prose/cool character/awesome idea hold its weight!
- Sometimes the right elements are there in the story; they’re just in the wrong place. Moving them around and applying the putty of transitions, etc., can often be just the thing you need.
- Wonderful, unusual ideas are exciting, but they need to be supported by an emotional payoff in some way. Not every character has to be likable, but the reader does need to be able to form some sort of connection to them. Basically, know what the emotional stakes underpinning your story are, and make them clear.
- Your story doesn’t have to be absolutely linear, but for the most part, unless you’re doing something experimental, the reader needs a bit of foreshadowing and the suggestion of structure. You want them to think, Of course it would end that way!—not because it’s predictable, but because subtle clues were sprinkled throughout, creating a sense of inevitability. Otherwise, the ending feels unearned and confusing, and the reader goes away unsatisfied. Know where your story is going, and lay a path to get there.
So those are some of my musings on the process. Do you agree? Disagree? Have anything to add? Tell us in the comments.