What We Talk About When We Talk About Revisions
National Novel Writing Month is upon us, and whether or not we’re keeping up with our word count, we probably keep hearing the advice to put all edits aside and just lay down the first draft. This is good advice, because 50,000 words is impossible to achieve if the writer is focusing on perfecting the first 2,500. And yet people may not know what we mean by revisions or edits. How will we know when to start editing? More importantly, how will we know when to stop?
The answer to the first question is relatively easy–when the first draft (what I like to call “pass through”) is done. And by “done,” I mean every scene that needs to be in the document is written. I point out the scene inclusion because when I’m writing my first draft I often put in place holders like this:
<<STORMY goes to ALLISON’S house, steals her car>>
So when those are all filled in I mark it as ready for editing. Revisions begin as soon as I’m ready, in the next minute, a few hours later, or after a break if I think I need one. Generally I jump right back in after a coffee, because I’m not fond of getting back up to speed on a book; I’d rather stay swimming in the characters, storyline, and themes. Before edits can begin though, I need to think about what my goals are for the second through twentieth pass throughs. Yes, twentieth. Revisions are the real work of writing, as the first draft is the feel good phase. This is the heavy lifting, but look at it this way: you spent this much time building up momentum, you can’t let the project crash and burn now.
At least that’s what I tell myself. Read More…
A writer friend of mine sent a question to me, suggesting I should have a column. So let’s pretend I have an advice column for writers. Feel free to add your own advice in the comments! Here’s our exchange:
I write speculative fiction, usually somewhere between soft science fiction and magical realism, and often, though not exclusively, with LGBT themes and characters. I suppose I could write more mainstream stories, but I like to twist things up and mess with the universe, and besides, I’m a genre geek. I swear this is less from a God complex perspective, and more about playfulness and political intent. Metaphors for transition, coming out, family acceptance, and the like can replace a description of the real thing, and in so doing, open up some space away from angst so more time can be spent appreciating some of the other aspects of these moments.Personally, I’m over angst, having racked up enough of those moments through two whole puberties! But as a writer for young adult and crossover audiences, I’m invested in finding ways to depict all of that cortisol-inducing stress, especially as it relates to LGBT themes. So I opt to find a different geography, a reinvention of time, nifty gadgets and alien species to push, instead of resolve, tension. 
This past summer I published a short story that generated some feedback from readers, much of it the same. Happily enough, they said they wanted to see 200 more pages to the story; I’d flung a world at them that was similar to our own, but askew in several ways, most dramatically in that this world’s children all metamorphosized, sooner or later, into fantastic and mythical creatures.
In many of the books I read as a child, character description came off a bit too formulaic—what she was wearing, the color of her hair and eyes, how pretty or athletic she was, and so on. Next character exposition, same treatment. Sure, I got clear pictures on what the actors in the story looked like, but there was a problem: by using the same process for description each time, nobody in the books stood out.
It’s an oft-discussed problem of writer’s workshops that first chapters get lots of attention to detail and craft, and then fall off like a continental shelf at the edge of a deep ocean. First sentences are even more the focus of early workshop experiences. While I try to pay at least as much attention to the last third of my work as the first third, I do think an opening can sink or swim a book in all kinds of ways—agents who’ve requested the manuscript will stop reading, readers thumbing through books in stores will put it back down and move to the next novel, and readers will get frustrated or have a hard time pressing on into chapter 2. In my aim to write a fantastic opening, I look to avoid certain things: 
Many of these 25 were great, balancing exposition, character introductions, the tone of the piece, and the basic conflict. Yet many more missed the mark. 
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