I have been into novel revision lately, not because I love to read my work for the millionth time, but because I want to get everything publication ready.
The revision process takes a whole-view perspective and a line-by-line look at the work created. The whole view is looking at structure, including plot, character development, setting and dialogue, while the myopic view considers all the details.
When I revise, I tend to see what’s happening on the page clearly but, in the process, become nearsighted about the structure. I tend to get caught up at the sentence- and paragraph level.
Over the past week, I did a hard copy edit of my fifth novel, “The Money Finder,” a young adult book about a 15-year-old who tries to take on the responsibility of her falling-apart family by finding money in odd places.
Since June, I have been rotating between this book and my third book, a Christian fiction look at a Bible study gone wrong in “One April Day.” I edited the Christian fiction by reading it through twice, one after the next, focusing on the sentences, sections of text needing transitions and gaps in scenes.
I found a lot of overwriting, where I gave too much detail about how things looked and what happened in a scene to move a character from one point to the next, both physically and emotionally. I used metaphors or descriptions that, when I looked at them again, didn’t work because I couldn’t picture the image or the word usage was awkward. And I cut pieces of dialogue, scene descriptions and character reflections that seemed to repeat, so that my character wasn’t thinking the same thing over and over again and the storyline didn’t move forward.
I ended up cutting 35 1 ½-spaced pages and 10,300 words.
In “The Money Finder,” I only cut three pages and about a 1,000 words. That’s because I’m a more experienced writer – I wrote the young adult during the 2013 NaNoWriMo, or National Novel Writing Month, and the Christian fiction in 2011.
In the young adult novel, I mostly did a line-by-line hard edit after doing a half-dozen edits on the screen. I found some inconsistencies in facts, such as giving the main character’s sister two different ages of seven and eight and changing the days of some of her classes.
I cut awkward descriptions, thoughts of the main character’s that repeated too much and details from scenes that made the action drag. In essence, I tightened the piece with little tweaks here and there.