How to Make Your Novel Even Better
You've probably heard (or read) the Ira Glass quote on how as beginners what we make doesn't live up to our excellent tastes--and how for many that's enough to stop them in their tracks. You've also probably heard published authors talk about how each new book they produce feels like they're starting from scratch--that they're beginners all over again. So even if you're not a beginner writer, honestly sometimes it can feel that way. How does one cope with the stress of feeling like you're starting all over again?
As Ira Glass says, you make a lot of stuff--ie, you write a lot. Additionally, in our case, we revise.
Last week I admitted that, in the past, I've tinkered with copyedits in my own work way before I needed to. The revision process is like building a layer cake and copyediting is the icing, if not the cake topper. There's a whole bunch of other good stuff to tackle first.
From Giphy
After you've addressed the first layer of revisions, here's where your inquiry can lead you next:
Does the point of view make sense and serve the story?
Really looking at what serves the story is essential for a good revision. It requires that we be ruthless, cold-hearted editors. The darlings that don't serve the story are the darlings we must kill. Yes, even if that darling is a second person POV that you think would just be so cool if you could pull it off!
Are the point-of-view characters' emotions on the page?
It can be difficult to stand outside yourself--you created the work, after all, and know your characters better than anyone. Are your characters as richly imagined on the page as you have them in your mind? Is it clear how they feel about their circumstances, how they wrestle with the decisions they must make, actions they must take? Make sure the good stuff isn't locked away in your head.
Are you showing where you need to show, telling where you need to tell?
"Show don't tell" is a useful reminder, but sometimes (often) the writer needs to just tell the reader what's up--to avoid confusion and frustration on the part of the reader and to, yes, increase tension. (The opening pages of The Vanishing Half, which we read in my book club, is an excellent example of this.)
Is the protagonist making decisions with clear consequences?
As writers, we're largely an observant lot and sometimes we're tempted (*raises hand*) to write a main character who observes, frets, thinks, and feels some kinda way about what all the other characters are doing. Unfortunately this doesn't make for a satisfying reading experience. Your protagonist needs to act: stir up drama, make bad decisions, do something bold or unexpected or heroic. And then there must be consequences for those actions.
Next week: Layer three of our glorious five-layer revision cake. Subscribe to my newsletter to get the intel first! Next issue lands November 5.
*Each of these four revision points is adapted from Author Accelerator's Hierarchy of Editorial Concerns.
