Revising a manuscript
can be a nightmare, or it can be a calm reevaluation of your story.
I know, I
know. To combine the word calm with writer in revision sounds like an
oxymoron. Like freezer burn or bittersweet. An oxymoron is a combination of two
contradictory terms. Or maybe I’m the only UN-calm writer. I’m usually
flustered about something.
But staying
calm during revision doesn’t need to be an oxymoron in terms. A solid revision
requires a good reader for your story. Someone who knows story and what makes
it work. This could be an editor, a book coach, or a trusted fellow writer or
two.
This revision
reader looks at your story as a whole. This reader needs to make sure the story
holds together and the characters act consistently with the backstory you have
created for them. And it’s a good idea to allow this trusted reader in on early
versions of your story.
What I’m
talking about is Developmental Editing. This should be the first step in the
revision process. It can be done by a professional editor or a book coach. And can
be helpful near the beginning of your story’s journey. Developmental editors or
book coaches are there to be sure your story has no major plot holes. They make
sure the characters are well-developed.
Developmental
Editing is very important to your story’s success and shouldn’t be left for
Beta Readers unless you have a trusted, accomplished story-writer friend who
can show you what’s missing in your story.
Beta Readers
are a wonderful part of revision AFTER you have your story down. I can’t wait
to offer my memoir to Beta Readers. Usually writers want Beta Readers to address
specific questions in their manuscripts.
For example:
Is the
timeframe and location clear in each scene?
Where do you
lose interest? Why, do you think?
What
questions remain unanswered about the plot or who’s who?
Is the
emotion on the page?
Do you get lost
anywhere?
Beta Readers
offer their opinions on sections of your story. They are great to give feedback
from the point of view of an average reader to the author. This feedback is
used by the writer to fix remaining issues with plot, pacing, and consistency.
I prefer an
open dialogue with anyone who reads my stories. If they have questions about a
passage, I like to have an opportunity to explain what I’m trying to say in the
scene. Then I ask the reader what his interpretation of the scene is. Only then
can I see what’s missing from the story.
As writers,
we are very close to our stories, our characters. What we think is in the story,
may not be when someone who does not know the story reads it. And
yes—Developmental Editors tell you these things too.
You pay for
Developmental Editors. You shouldn’t pay for Beta Readers. You are paying for
the Developmental Editor’s expertise in the business of storytelling, of
creating viable books for sale. They are the more expensive editors, when
preparing a book for publication, as opposed to line editing—which is done at
the completion of all other revision work for the story. Another important step
to have completed.
I have used a
book coach, originally from Author Accelerator, to create a solid version of my college memoir. I took a few months off from my
memoir to create more YA short stories for the magazine market, to give myself
distance from the memoir story. Now it’s time to pick up with my editor, Michele Orwin, and
finish a final version of this memoir story.
Has anyone ever added scenes to their stories or memoir
about what the protagonist was like before the inciting incident or before the
story present? I’m interested in how you set up the scenes and where you placed
them in your story. Please share any insight you may have in the comments
section of Adventures in Writing. Thanks so much!
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