Last post, we talked about Big Picture structural fixes for your novel. For the next step, we’ll dive into what I call Intermediate Revision.
Writing Tip for Today: What are some ways to accomplish intermediate revision?
Scene Innards
As you begin a second round of revision, you’ll have already weeded out scenes which either don’t move the story or are rabbit hole tangents, With the remaining scenes, you’ll want to be sure each is as tight and forward-looking as possible.
First, consider who is on stage, when and where the scene is set. Check for logistics—you don’t want your character wearing red shoes at the start and blue shoes at the end. Your scenes should probably follow some sort of macro to micro environment. By that I mean, your readers will appreciate a rhythm of crowded scenes going to intimate scenes and back again.
Check the scene’s dialogue to narration ratio. Flesh out talking heads. Be sure readers will easily follow who is speaking, either by attribution or by descriptive action or thought. As you write follow the Rule of Three for dialogue—for every three lines of spoken, break up with an action, narration or thought “beat.”
Rooting Out Extraneous
Novels require so much effort that most novelists find at least a few scenes that are either repetitive, too passive or that don’t move the story. Just because you found a cool piece of research doesn’t mean it makes the cut. Every scene (either Main or Subplot) must pull its weight in keeping readers reading.
If your work contains scenes of pure exposition or description, consider weaving them into more active scenes. I’ve mentioned “table scenes” as a drag on readers’ full experience. Too many of these scenes limit readers’ sensory experience—they see only characters from the waist up. Set your scenes in a way that doesn’t feel repetitive.
Subplots in a new writer’s hands should be limited to two. More than two subplots (meaning other smaller goals of the protagonist) and your story can race out of control. As you revise, place the subplot at intervals that feel natural. For instance, a subplot can pop up just before or after a major loss or conversely, a major win.
Make sure all the characters don’t sound like you.
Paragraph Refinement
Revising at the paragraph level sits at the cusp of intermediate and copy edits. Look for overlong paragraphs and think of breaking them into smaller chunks or perhaps eliminating or compressing sentences to make the paragraph tighter. Check for patterns—are many paragraphs the same length? Try dropping in a one-sentence emphatic statement here and there.
How does the paragraph hang together? Is there a clear goal? Remember, every piece of your novel, from structure to copy edits must strive to maintain the same tone. If your book is supposed to be lighthearted, paragraphs written in a formal, somber tone will stand out and not in a good way.
As you tackle Intermediate Revisions, above all keep your character’s voice and overall goal in mind. Sift your paragraphs to determine if the character’s unique voice comes through. You don’t want all the characters sounding just like you. To become truly memorable, the lead must convince readers that the character has come alive on the page.
