Editing
by PK Hrezo
When
I first started out writing novels, I knew very little about story
editing. It wasn’t til someone pointed out my sloppy style that I
realized I had fewer skills than I thought. You mean there’s more
to writing stories than just making stuff up??
Oy.
Totally clueless.
I
bought my first writing guides ever: Self
Editing for Fiction Writers,
and The
First
Five
Pages.
And boy did my writerly world shift. That was about five years ago.
Since then, I’ve devoured multiple writing guides, written seven
novel length stories, and exchanged critiques with some very talented
authors. This has helped me develop the editing methods I use today.
Most
of you probably have your own methods by now, but it’s always
interesting to see how others work, and adapt new techniques here and
there. I draft fast, without looking back (as tempting as it is) and
wait a bit before reading what I’ve got. For my first read-through,
I use Word so I can clean up sentences here and there while I focus
on plot, characterization, and big story issues.
Afterwards,
I leave it alone for a few days, then send it to my Kindle and read
it as I would any story I just downloaded. This is the biggest help
to me. I catch so many things I didn’t see the first time around.
If you can’t send it to a tablet, change the font on your
manuscript and re-read it that way.
I
have checklists I use after this second round of edits, and I’ll
leave you one of them at the bottom of this post. After using these
checklists to dig deeper into my story and characters, I go back
through the story again and deepen the point of view, weed out extra
words and flowery prose, and add as much voice as I can to mundane
sentences.
Then,
it’s off to my trusty CPs, and later, to various beta readers. I
try to find at least one new beta reader for each new story. Fresh
eyes are extremely helpful. I should add, I do my own editing, but I
did hire a proof-reader for my self-published book, Butterman (Time)
Travel, Inc. My CPs are very skilled and amazing at what they do, so
I really get the benefit of a content editor when they read my work.
With
sci-fi stories, as you know, there’s an extra element for
consistencies and technology plausibility, so I also seek out
scientific-minded beta readers to pick out any issues there.
In
regards to setting, since that’s a big element in sci-fi, here’s
some food for thought: How does the setting affect your character’s
movements and experiences? Have you revealed the setting through
character reaction, instead of simply describing it? Try having your
characters manhandle the props to enhance the setting as well as
character emotion.
Here’s
a story checklist I acquired from somewhere on the Web, so I
apologize for not being able to give credit to who it came from.
These are valuable points of interest:
1. How
can I make the protagonist likeable or at least relatable?
2. Are
both the protagonist and the antagonist extraordinary in some way?
3. Do
they both care passionately about something?
4. Is
what they care about at the heart of their opposition?
5. Is
the antagonist just as strong or even stronger than the protagonist
and just as compelling or intriguing?
6. Do
all the main characters have genuine flaws and eccentricities?
7. Is
there opposition between what the protagonist wants, her external
goal, and what she needs, her internal goal?
8. Is
the protag going to experience a change of fortune: from good fortune
to bad, from bad fortune to good, from good to bad to good, from bad
to good to bad?
9. How
can I use the setting and season to make the situation worse for the
protag?
10. How
can I make the setting more interesting and challenging?
11. Are
the protag and antag struggling within a situation readers haven't
seen before?
12. How
can I elevate the concept?
13. What
extra coolness factor can I add?
14. What
twist can I add to make this unusual?
15. Are
there logical connections between characters, plot, and theme(s)?
16. Is
the theme universal?
17. Does
the protag's struggle exploit a universal fear?
18. Are
there high stakes--terrible consequences--if the protag fails?
19. Does
she have to make an impossible choice or sacrifice that will make her
pay personally before she can win against the antag?
20. How
can I provide a test at the beginning of the manuscript to show off
the trait the protag needs to change before she can win?
21. What
makes her the way she is, and how can I show that to make her initial
failure understandable and relatable?
22. How
can I make the stakes even higher at every turning point while
keeping them relatable?
23. Have
I got enough of a coolness or fun factor in the mid section to sell
the premise and carry the second act?
24. How
do I keep the protag in conflict between two emotions so she has to
fight to resolve her feelings?
25. How
can I exploit the situation and main conflict to force the characters
to make active choices?
26. How
can I limit each of the character’s choices to force them to choose
between something bad and something worse, force them into bad
decisions, or push them into doing what they least want to do?
27. How
can I make characters behave in the most unexpected way that fits
within their motivation, personality type, and background?
28. How
do I introduce a new conflict before resolving an existing one?
29. What
danger can I keep threaten, what information can I promise, what
expected emotional crisis, confrontation, loss, or decision can I
foreshadow to keep the reader eager to read?
30. How
can I push an expected outcome into an unexpected direction?
31. Before
the climax, how do I make it clear why the antagonist is the way he
is, and how do I make him sympathetic?
32. How
can I apply lessons the protag has learned and show her character
growth in the climax in a way that will echo the test she failed at
the beginning?
33. How
do I make it clear enough why she has changed enough to choose
differently than she did in the initial test?
34. Can
I make every conflict in a subplot real and hard to overcome?
35. How
do I resolve all the subplots and weave them together more tightly?
36. How
do I show the arcs for each of the main characters?
37. How
do I most smoothly deliver all the missing information before the
climax scene?
38. How
can I the climax the toughest challenge in the manuscript?
39. How
can I make the resolution truly satisfying?
40. How
do I make sure I've kept my covenant with the reader?
If
you need more checklists or worksheets, let me know and I’d be
happy to forward them on. I’ve collected quite a few over the
years.
I’ve
also found that reading a very well written novel prior to going
through final edits on my story, helps me really put on the polish
and make it shine.
How
about you? Any tried and true techniques you’d like to share on
editing?
PK
Hrezo is the author of Butterman (Time) Travel, Inc., a new adult
sci-fi romance, and Fearless Fiction blogger at
http://pk-hrezo.blogspot.com
She
can be found on Twitter at @pkhrezo