Revision Strategies For Creative Writing The Complete Essays Of Montaigne Frame
I can let everything else go (I didn’t to tighten the rest of the conversation or add the stage business).
Or there was the time when I called a character Andrew for three chapters, then switched to Anthony and didn’t realize it until five more chapters were done.
It’s hard to figure out how much I eliminate—often it’s more that I’m switching out or reworking phrases or sentences or paragraphs (rarely scenes).” [Read more here] Deborah Eisenberg: “It takes me a very, very long time to write a story, to write a piece of fiction, whatever you call the fiction that I write.
Looked at my use of the word “vague” to see if I’ve been using it too much. Removed about 20 instances of the word “vague” from the book.” [Read more here] Neil Gaiman: “Most short stories go through a couple of drafts and a polish—I’ll write a first draft, then (if it wasn’t typed) I’ll type it up, and then I’ll email it to friends and find out what didn’t work, or puzzled them. He was the sharpest of all of them—saved me from making a fool of myself half a dozen times.) And then, if I can, I’ll put it away for a week or two. Things that are broken become very obvious suddenly.
Then take it out and read it as if I’ve never seen it before and had nothing to do with its creation.
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.
I’ll go in and polish it up, and possibly keep playing with it a little—it’s on the computer: everything’s malleable until it’s printed.