Our revision discussion was interrupted last week with a Note to My Girls Because I Knew There Would be Many Tears of Sadness and There Were. We’ll pick up where we left off the week before. 🙂
11. Is every word moving you toward the end of the novel? My mom used to ask her creative writing students “Would you use so many words if you had to pay a dollar for each one?” It’s a good question. What words can you do without? Do any slow the story down? Do you need all the adjectives? All the adverbs?
12. Is your punctuation right? Yes, this is something that a line editor will help you with, but don’t forget that I just read a book (I mean it! Don’t forget that *I* read a book) where there were tense problems all over the book. So you want to get your novel the best it can be. And whatever you do, do NOT think that this is what an editor is for and send in a manuscript with typos all over the place. Said editor will just dismiss you with a vote of thanks.
13. Can your “ly” words be replaced with stronger verbs? Adverbs mean a weak verb. So think of words (in revision–otherwise you will slow yourself down) that you can use that will replace your adverbs. “He walked slowly” can become “He meandered.” And let me tell you what–I ALWAYS have characters meandering.
14. Do you have a plot? We character driven novelists are always wondering this! Hahaha! “Do I have a plot? Ann Dee, what do you think? Do I have a plot in this one?” “I don’t know, Carol. I like your characters. Ally? What do you think?” Ally (too kind to say anything negative) avoids eye contact.
15. Can your “was –ing words” be replaced with one word? I was walking becomes I walked. This makes the story more immediate and you lose extra words, and that’s always good because it means you save a buck.
16. Does the reader feel the main character’s emotion? If you want to connect to your reader you can do so through emotion. Let us feel what the character feels and we will care. That’s the way it goes, mister. Be careful, though, to not tell the reader how the character was feeling. Man, was he scared! And when you show, make sure that you are not using cliched writing. She was so embarrassed her face was as red as a tomato. Be original and your story will be remembered. (If you don’t think so just remember back to that scene from Throw Momma from the Train that Kyra posted on Friday. His guts oozed nice like a melted malted . . . )
17. Are you giving too many points of view? When you change voices or points of view you need to keep each strong and distinct. Each character must sound different. Each must sound real. The more points of view you have to deal with, the more you have to create, keep original and individual. Whenever I write from a boy’s point of view the boy sounds like a girl. Why? I know girls. And I think boys have cooties. So I always have to be very careful when writing the male voice.
18. Are you consistent with your POV character or are you getting into the heads of too many people? Please, I’m begging you. Your main character–unless she can read minds–can only feel her own emotions. She might be able to see a look of sadness on another’s face and interpret it as such, but she doesn’t know how the other person feels. Period.
19. Is there good sense of place? One way to connect with your readers is to make a scene feel real. This happens by writing a strong sense of place. Use all five senses when you are creating place. Some think that only fantasy or dysptopian novels need world building, but the truth is all books should make the reader feel grounded in place. My first letter from editor Mary Cash told me I needed to develop more of a sense of place for KELLY AND ME. I wasn’t sure how to do that and went to other books to see how the authors created their worlds. I loved Bill and Vera Cleaver (WHERE THE LILIES BLOOM) who told beautiful stories where the place was almost a character itself. Place is quite strong in Ally Condie’s novel MATCHED.
20. How is your pacing? A book that moves too fast or too slow will leave the reader feeling gypped, bored or both. Make sure you pace your novel so that you’re not giving too many details (details that don’t move the story forward) and to make sure that you aren’t leaping over important parts of your book.
Remember that everyone has their own way of revising–but if you never complete a manuscript, you’ll never have anything to revise. So get a draft done so you can start the fun part of writing. Well, I think revision is fun. What about the rest of you?
Also, and I mean this, books–well-written and otherwise–can you teach you so much. In fact, books were my first creative writing teachers. So what am I saying? READ! READREADREAD!
3 responses to “And So We Continue–Questions to Ask Yourself as You Revise (11-20)”
tears of sadness make me sad. Sorry for my chica’s.
These revision questions are gold. I’m not there yet.
But all of these things are what I will be asking myself.
Thank you, Carol. Kisses and loves.
Love the suggestions! I’m actually revising my novel right now so the timing couldn’t have been more perfect!
Thanks for these tips Carol! I have a question for the three of you wonderful authors on this blog. After you’ve done the first draft, how do you pick it up from there? Do you reread what you’ve already written and then start fresh and write a whole new draft? Or, do you cut and past from your first draft and then add things like crazy?
I’m not sure where to start. I’m not sure at all. And maybe it just depends on the person and the novel, but any feedback you have would be much appreciated!