Posts tagged ‘tracking features’

September 24th, 2010

Finishing

by Johanna Harness

I started my big revision just over a month ago.  I started with a few days of serious planning (shrunken manuscript, note cards, track changes in Word).

Then I spent two weeks changing the big stuff.  In this phase I deleted 160 pages and added 70 pages of new material.  I was seriously thrilled when I reached the end.  Grafting new scenes onto old, changing plot, and revising structure–this is painful, deep-down revision work.

That weekend I went to a local SCBWI conference and came home realizing my first pages needed changing. What the heck, right?  They were all brand new pages anyway. What was one more change?

By the time I finished the new intro, I didn’t recognize my book anymore.  Seriously, I could just retitle it and submit it as new.

And all that new stuff, it started worrying me.  So I spent a few more days fact-checking the lies I was telling.  Because, you know, good fiction is based on good lies.  And good lies need some fact-checking.

But there’s a point too, when I’m writing about dill seed, and I get spices out of the cupboard and I start researching Schilling and then McCormick and I’m reading about the history of the company and Uncle Sam’s Nerve and Bone Liniment–there’s some point in there when I have to think maybe, just maybe, I’m procrastinating. Maybe I’m a tad afraid to resubmit this book to the agent who requested revisions.  Yeah.  Ya think?

And the read-aloud I had planned to start the week before?  I’m afraid the book has changed so much my devoted cheering section will no longer like it.  What if I just ruined it for everyone?

Unfortunately realizing I was terrified did nothing to help me.  It’s that moment when someone sees you’re afraid of heights and they say, “just don’t look down” and you hadn’t considered looking down until they said it and then you can’t help it.

And so yeah, I was almost done really, but I was trapped there, looking down at my manuscript, afraid to move.

I hate that.

So I did what I did when I was a kid and I got stuck in a tree I was trying to climb:  I inched forward for a bit–and then I fell.

I let go of trying to write perfect, compact sentences and I let myself write like hell through the section where I was stuck and 3500 words later, I wasn’t stuck anymore and I flew through the rest.

During read-aloud week I deleted most of those words, but they were a good fall for me and much needed.  And if that scene does make the final cut, the reader may or may not recognize the section.  When Amelia tells Claire about letting go, it’s apparently the lecture the author needed to hear.  I couldn’t fully embrace the new version until I let go of the old.

I spent the last week finishing my read-aloud edit.  And I’m assured by my listeners that I didn’t ruin the story.  (They said nicer things, but really I just wanted to know: ruined or not? And they said not.  And I’ve had bad reviews from them before, so this was not a given.)

Today I finished adding the necessary edits–and off it went to outstanding requests.

Tonight I thought I’d do some catch-up, adding bios to the #amwriting directory, but the admin section of the site is down.  So I’m mulling and rambling here instead.

So here’s to finishing.  No matter where you are in the process or how many revisions you’ve undertaken, here’s to pushing through your fears and finishing. *clink*

August 30th, 2010

Revision notes

by Johanna Harness

I’m working on a big revision of Claire Morgane Almost Saves The World and my overall goal is to simplify the major plot through-line and tighten the action in the book.  In doing so, I’m eliminating some entire chapters where there are now only a few critical bits of material remaining.  Those critical bits must find their way into other parts of the book, preferably by replacing less-important material.

My goal is to create scenes that serve more than one purpose in the book.  If a scene advances the plot, that’s not enough.  It should also reveal character development or add clues to the subplot or contribute to world-building.  Every scene must do more without becoming overly complicated.  Elegant trimming and replacement is more difficult than it looks!

So far in this revision I’ve used a shrunken manuscript to identify major plot points and subplot points in the book—and also to identify those sections that can be removed.  Next, I went through the entire manuscript using the tracking features in Word, making notes throughout.

When I deleted a scene, I evaluated its current purpose and used the shrunken manuscript to identify a place I might achieve the same purpose elsewhere in the book.  Before eliminating the scene, I added notes to the target chapter.

I’m now to a point where I need to make sure all these details fit where I’ve moved them.  I don’t want to polish a scene and work on transitions into the next, only to discover I have the action in the wrong order.

I’m using large note cards for this stage.  Since I’m revising from a manuscript with lots of notes, not everything needs to be included on these cards.  The cards are my reminder of the big picture:

  • What is the purpose of this chapter?
  • How does each scene work toward that purpose?

For instance, in the first chapter, I need to show what Claire wants most. By keeping that in mind, I’m able to look at every detail of a scene and run it through that filter.  I’m not looking at heavy-handed changes, but the subtle things.  How does her awareness of environmental collapse influence the way she sees the sky and the clouds?  The big note card will be my reference as I’m rewriting specific scenes.

I will also be leaving lots of blank space on the cards so I can add colored sticky notes to each.  The sticky notes will track character development as well as tracking the continuum between clues and revealed material.

Because I’m touching so much in this revision, I need to keep track of the big picture as I move forward.  I know some people are able to do this without all the structural supports, but I need the scaffolding.  When I’m in the details of a scene, I get lost in the mind of my character—the pain and the passion and the immediacy of a specific event.  I absolutely need the reminders so I’m writing to the book and not just the scene.

When I look back at the revisions of this book in the last year, I see clearly how much I’ve developed as a writer.  A year ago a revision of this size would have scared me.  Now, not so much.  If I can make the book better, I’m in.


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