Revision Strategies For Creative Writing

Revision Strategies For Creative Writing-47
Here’s what I wrote down: (And don’t worry, there aren’t any spoilers below. Changed a curse to be more culturally appropriate for the person using it. Looked at all instances of the word “bustle” in the book to see if I’m overusing the word. Considered modifying the POV in a particular scene. I realized instantly that a) this was a really cool idea and fit right into the story and solved a bunch of plot problems, and b) if this backstory was true, a character back in Chapter 2 should have reacted very differently during their conversation.

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And I mark it up and leave it until the morning, and then I make the corrections in the morning, which gives me a way to start the day… And the drink loosens me up enough to actually mark it up, you know. Marking up something is just another way of saying editing it.

Because you don’t edit very dramatically when you’re—you’re not very hard on yourself, you’re not very loose with yourself most of the day.

Over the course of the next couple of months I’ll see a relationship among my poems and I’ll ask them what they are saying to one another.

Once I sense some answers, the poems will develop their own identity and the theme/obsessions of my work will rise to the surface in more realized poems. I have been known to cross out words and add lines to my books of poetry.

Still, you aren’t the first person to ask about this. It is part of my process because my backbrain simply will not cooperate if it isn’t really, really sure that what I have already written is a solid foundation for whatever is currently at the leading edge of the story.

So I decided to take some notes on what exactly I did over the course of a night’s revision. For instance, in the current WIP, I started a new scene in Chapter 11 and a piece of unexpected backstory showed up for one of the characters.

If I am not happy with a line before a reading, I’ll gladly edit the text in my book so that I’ll feel comfortable reading it to an audience.

Text and language is alive so it’s always changing. [Read more here] Kelly Link: “I redraft as I go—whenever I get stuck in a short story, I go back to the beginning and revise my way down to where I left off.

So why is A talking and reacting as if he/she doesn’t know it? I did go over the whole scene looking for other potential revisions, and the whole fix didn’t take more than ten minutes to do and get back to work on the leading edge of the story.

Most of my rolling revisions are like this: they’re matters of plot, characterization, setting, or backstory that I realize are inconsistent with what I am currently writing, and that I have to fix before I go on.


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