Empire’s Heir is my sixth book, and my revision process has evolved along with my writing. I’ve always been an edit-as-you-go writer, but with increasing age comes increasing difficulty to be at the computer for long hours. So I decided this time not to do that, guessing that the revision process would be faster than constant rewrites. So with very few exceptions, I just kept going with the book, making notes if I added a plot thread or changed something that affected earlier scenes. I also planned the scenes more, knowing – usually – what points needed to be made before beginning them, although, as usual, my characters sometimes had different ideas.
So: now I have this 130K manuscript in front of me. One file. What do I do first? Back to that increasing age problem: my eyesight isn’t what it was. Computer screens are difficult after a while. So my first step was to print it, with a very wide margin on one side for notes.
Then I analyzed it paragraph by paragraph: what purpose(s) did each paragraph serve? Did it build character, describe setting, cause conflict, advance the plot? (Preferably more than one of those, in most.) If they don’t, mark as OMIT, or CONDENSE.
In this pass, I also identified the main plots, and the subplots, keeping track in a notebook of the page numbers. Turned out there were 26 plot threads to be woven into the story: four large ones, 22 small conflicts that needed resolving before the end.
Then I divided the book into its three acts, which for this particular book is its defining overall structure, and analysed how much page time each conflict got.
This was interesting, because it showed me some significant gaps in two of the major plot threads. So I made a list of those.
Then I went back to revise. First, I fixed the paragraphs marked OMIT or CONDENSE. Then I took out a few of the 22 minor plot threads that really didn’t add to the story. After that, I went back to balance the plots better, making sure they contributed to each of the three acts.
You’ll note I haven’t worried about conciseness or cadence, clarity or flow, or anything to do with the quality of the prose at this point. That comes later, after I know the book’s bones are solid, and connected: the skeleton on which the flesh of the story lives. It’s still far from the final version, but it needs now to be seen by other eyes and minds than mine.
So it’s gone to my critique team: three readers who know my world and my characters well, and, equally importantly, won’t be hesitant in telling me what works and what doesn’t; what’s still extraneous; where I’ve missed a plot thread; which character is still two-dimensional; which one needs introducing earlier – that sort of thing. When I have their feedback, I’ll incorporate it.
I’ll write about that, and the next step: pruning it down from 130K – in another post. But not until I’ve done that work!