Gone Rewriting

I am working on a rewrite of my novel, The Bonne Chance Bakery.  And, of course, the exciting news is that this rewrite is not just for me.  Nope, I am rewriting to the notes from the agent with whom I just signed, Erin Niumata, and one of her readers.  

This is all happening fast.  As in, a month ago I hadn't even submitted a query on this novel.  And now I have an agent for it and am working on a rewrite.  This process is interesting, and to all my students and clients, current and former, I say, yes you really do need to expand those descriptions and details! That is one thing I'm seeing repeatedly–a request for more details and description of my characters.  It cracks me up, because I'm constantly saying this to clients–more, more, more!  

Anyway, I have a deadline coming right up to finish this rewrite (which is an excellent thing, as I am very deadline-oriented).  But with my current load of clients, my students at MTSU, and my clamoring family, that means time is at a premium the next couple of weeks.  I've already emailed people and postponed lunches and coffees and non-essential meetings.  

The next thing to fall is going to be blog posts.  You know I can't ignore you for long, and I won't.  I will post at least once a week, but until mid-March that will likely be it.  I know you will understand and forgive me.

In the meantime, there's over 1,000 posts on this site, so you can start at the beginning, nearly eight years ago and read up to the current day.  I'm kidding.  However, there is a topic cloud in the right sidebar and if you click on some of those subjects, you'll find reading material tailored to your interests.

And let me just remind you of three upcoming workshops:

In Portland, How to Write A Book, on March 21 (mercifully after my deadline).  I think we only have a couple of spots left, so let me know if you are interested!

In Nashville, May 1 and 2nd, From Spark to Story.

In Collioure, France, Secrets of Structure, September 5-12.  There is only one spot left here, so let me know if you want to come.  It is going to be a blast!

Oh, and rumor has it there may be an online workshop coming up one of these days soon, so stay tuned!  And happy writing!

Rewriting: The Middle Way

Table_269134_lThis is a short-ish post, seeing as how it is two days before Thanksgiving, when I host a dozen family members here for dinner, and the lovely Olivia (19 months) is spending the day with me, and the house needs a lot tad bit of cleaning and, oh right, I do have to figure out a few recipes.

I'm deep into rewriting my next novel, and all I can think about writing-wise is related to rewriting, which is kind of an individual thing.  So I've had a hard time coming up with ideas for writing posts lately, which you know is unusual seeing as how we're coming up on eight years of blogging and over 1,000 posts.  Craziness.

But, upon further reflection, I did realize I had something of minor brilliance to say.  It may even be major brilliance–it all depends on if it resonates with you or not.  Here's the story:

The other morning, 5:30 ish* and I'm working on my rewrite.  I come to a part I'd dreaded, because it involved the way one of my main characters, Jack,  reacted to a situation.  Readers commented they didn't believe his reaction, given his actions earlier. 

What's the obvious fix here?  Why, give him the opposite reaction, of course.  Which is what I had figured I'd do in all my rewrite planning.  But as I started making the fix, it didn't work for me.  Didn't feel right.  Didn't seem like something Jack would do. 

So I got up from the computer (actually I sat there frustrated for a few minutes) and took a shower. And the answer came: Jack doesn't have to have a different reaction, he just has to have his current reaction challenged by the other characters and thus explain his reaction.

In other words, what I needed to do was make it work on the page.  

This, my friends, was following the middle way.  It's the sometimes circuitous path between two black and white option, and it comes to us not just in writing but in life.  You look and look and look at an obstacle and can only see it as something barring your journey.  But then, suddenly you realize you can just go around the damn thing–and get back on your road.

And so that is what I did.  Jack is happy.  And so am I.

I had a counselor once who called this grace.  And that's what it feels like, doesn't it?

Have you had moments of grace in your writing or life recently?

*I've used "ish" twice in this post.  Last week, I was having lunch with a childhood friend (we grew up around the corner from each other) and we agreed that both of us had the same laidback attitude toward life, which she attributed to being the baby of the family.  She said–and I love this–that her favorite word is "ish."  As in,  soon-ish.  Or later-ish.  You get the picture.  Thus, the preponderance of the word "ish" in this post.

Photo by monmart.

The (Sometimes) Joy of Rewriting

Just in time for Mercury Retrograde, I am launching into the first big rewrite of my novel.  (More on Mercury Retrograde in a moment.)

The background        

GreendoorPezenas

A green door in Pezenas, France. It's a doorway to rewriting, get it?

I started this particular novel last year in late September, and finished it almost a year later, on the last day of August.  By many standards, including mine, that is a slow pace for a first draft.  But there were entire months when I set it aside to work on other projects, so the entire time span of active writing was probably was more like eight months than twelve.

I got the idea for this novel in the shower one day in one of those Eureka moments.  When I started writing, in first person, the voice of the narrator came easily and naturally, much as what happened with my Emma Jean novel.  I love when this happens–you don't have to struggle with voice, it is just there. 

My writing group has been enthusiastic about the story, and responses from people who've read the first 50 pages of it in a MFA alumni writing workshop have been also.  And I already have a ton of ideas of scenes I need to add and ways to deepen certain characters. So, I'm excited to get on with the second draft.

The plan

Thus, I was even more excited when my wonderful client and friend Beverly pointed me towards this page on Rachael Herron's blog.  It presents a coherent, cohesive plan for rewriting.  And, I don't know about you, but in my writing life, coherent, cohesive plans for rewriting have been in short supply, witness this story from my MFA days:

I had finished the first draft of the book I lovingly call my MFA novel (It now resides in a cupboard and will likely never see the light of day) and was ready to rewrite it.  So I asked my MFA mentor, an accomplished novelist, writing teacher, and world traveler (who shall remain nameless only because what follows might sound like I'm dissing her and I don't want anybody to think that because she was amazing) how to go about it.  

"I'll tell you how to do that," she said, tossing her long, thick, red hair.

I leaned forward, excited for more of her words of wisdom.

"You sit in your favorite easy chair and read your novel as if you're reading a book from the bookstore."

I waited.  Then I waited some more.  Being too in awe of her to squawk, "that's it?" I waited longer.  

Finally she broke the painful silence.  "Then you will find a way in."  And she bestowed a smile on me.

So, um, you can see why I'm thrilled that plans for rewriting the novel exist.  And, lord have mercy, said plans involve buying office supplies, like post-it notes! A three-ring binder! 3-hole punched paper! Washi tape!  (Okay, the washi tape wasn't strictly necessary, but how could I resist it?)  I'm in the process of printing out my novel and have already begun following the first part of the plan.

Oh, and today, in my internet travels, I ran across this post from the always helpful Janice Hardy about rewriting.  It's worth a read, also.

Iphone6Paris

A giant ad for the Iphone 6 on an historic building in Paris.

The timing 

And now we come to the part about Mercury Retrograde.  Three times a year, the planet Mercury essentially goes backward.  (Don't ask how, just accept, okay?) Most people intone the words Mercury Retrograde with the same dire tones they use to say black plague, or these days, Ebola virus. Communications go haywire, and technology goes bust.  (Don't even think of buying a new computer or phone during one of these periods.  And whatever you do, don't sign a contract.)  Travel plans tend to go awry.  Fun and games, people, fun and games.

But.

There's always a but, and this is a big one.  At the same time all the above-mentioned crazy stuff is occurring, there's something else afoot–and that is that anything that has the prefix "re" attached to it will be a good activity for you.  So, reorganizing, remembering, renewing, or, ahem, rewriting.  Yes, Mercury Retrograde is the perfect time to return to something you've been working on and a good chance to look at it with new eyes.  So there.  I've just given you reason not to dread Mercury Retrograde.  Just don't get tempted by those new Iphone 6s.  

How do you approach rewriting?

On Reading My Own Work: The Issue of Sentimentality

Book-books-collection-415-lTwo stories:

Story number one

I'm sitting at my computer, laughing.  My husband asks me what I'm chuckling about.

"Oh, I'm proofing my novel.  I'm not sure if this is good or bad, but Emma Jean makes me laugh, even though I wrote her."

I've gone through edits, and copy edits, and now one round of proofing, and every time it makes me laugh.  Every time, reading the novel makes me remember how much I loved writing it.  How much I love my heroine, Emma Jean.  How happy I am that the book is being published.

Story number two

This year for Christmas presents, I printed out copies of my MFA novel, Language of Trees, for my daughter and daughter-in-law, because they hounded me for it at their request.  As the chapters came off the printer, I read bits and pieces of it.  Some of it I liked, but some of it made me cringe.  And now when I picture the girls reading it, I cringe anew.

So what's the difference in these two stories?

Well for one thing, Emma Jean has been rewritten, revised and edited within an inch of her life.  Though I worked and worked at writing Language of Trees, I could never quite get it to hang together.  (I'm hoping to change that this year, and I'm giving serious thought to going the indie publishing route with it.)

But here's what I believe the major cringe-worthy factor is: sentimentality.

The best definition of sentimentality I've ever read is that it is unearned emotion.

Language of Trees still has a lot of moments of unearned emotion that have not been edited out.  The kind of thing that makes you wince when you read it.  Oh God, I just remembered a party scene from the novel wherein all the men in attendance fall head-over-heels in admiration of Collie, our heroine.  Ouch. This is embarrassing to me in retrospect because it is a sentimental moment.  Collie has done nothing to earn their ardor but appear at the party.  Unearned emotion.

And, if I'm honest, when I ponder the novel I'm currently at work on, there's lots of instances of sentimentality.  In my defense, it's still a first draft.  The one with holes big enough to drive a truck through.  (I can't remember who told me that metaphor, but whoever you are, thank you.  I love it.)  And some of those holes are unearned emotion.

So I have to admit that printing out Language of Trees was a good exercise for me, pointing out, for future reference, something I want to keep a closer eye out for.  And it gives me a road map for rewriting it.  I can start with the places that make me cringe and go from there.

How does sentimentality tend to present itself in your work?  Is it an issue for you or not?

**If you're struggling with issues of sentimentality or other writing craft problems, make 2013 your year to go full out with your writing.  Consider gifting yourself a writing coach.  There's no better way to make fast progress with your writing!

Photo by lusi.

Rewriting: Print Out Your Work

Aelse_ilovenature_glow_5663_hSorry, trees.

The topic of today's post impacts your health on this planet, and for that I'm truly sorry.

But I'm rediscovering the helpfulness of printing out my work in order to rewrite and revise it.  (I like to make a distinction between the two words.  To me, rewriting is what you do on the second draft, when you're looking at big stuff like character arc and plot.  Revising is what you do on the final draft, when you're looking at every word, and comma and period.  Big difference.)

This all began when I saw Anne Lamott last Friday night.  She spoke in Portland at the Baghdad Theater as part of her book tour for Some Assembly Required: A Journal of My Son's First Son.  The theater was packed, I'm happy to report, full of happy fans eating pizza and burgers and drinking wine and beer.  Which was just the wee-est bit ironic, seeing as how Anne is a famous recovering alcoholic.

But it didn't seem to bother her and she had some great things to say about her life and her writing.  (She delivers her lectures in almost a stream-of-consciousness style that appears effortless and is very entertaining.)  She talked about writing as a radical act (hear, hear) and also that she likes to repeat the mantra, "it could happen," after a character in an old movie, Angels in the Outfield. (Such as, bestselling novel?  "It could happen."  And so on.)

What really struck me, however, was when she talked about printing out your work in order to edit it.  Yes, we live in an electronic world, but it is still important to make a hardcopy of your writing and see it on the page.  Use the electronics to communicate with the world and tinker with your work on the page.  The real page.

I used to do this all the time.  It was the only way I could rewrite.  But lately, with the convenience of editing on the computer, I've gotten away from it.  This week, I decided to experiment and printed out 70 pages of my next novel.  Totally different experience.  You simply see things differently when you edit on the page.  Try it.

I'm not sure I recommend printing out pages every single time you edit.  So much of editing goes on as you re-read a draft on the computer, perhaps before you begin your writing session.  But as an exercise at certain key points along the way, it can be very useful.

And as for the trees? Buy recycled paper.

Create a successful, inspired writing life: Next time you're finished with a draft, print it out to make your revisions.  See if it works for you.

Please comment.  How do you approach rewriting and revising?  Do you do it on the computer or on hard copy?  Which do you prefer? 

Photo by Josef F. Stuefer, and I found it on Everystockphoto.

Writing From Vision to Revision

You are a writer. Note_notes_notepad_260973_l

Because, a writer writes.  That's the definition of a writer: someone who writes. 

A writer is also someone who understands a couple of things:

1.  Why she writes

2.  The writing process

And, furthermore, a writer should also understand that topics to be used in the writing process can be inspired by asking yourself why you write and by grasping what you want to write about.  That's the vision part.  And after you've gotten that down, you go into revision.

That was the gist of a lecture by my colleague and friend Terry Price at the Writer's Loft last weekend.

Terry started his lecture by asking us to name some of the reasons we write.  Responses included:

  • to share experiences
  • help others
  • know yourself
  • express emotion
  • sheer joy
  • exploration
  • healing
  • processing

And so on.  I'm going to steal me some of these reasons next time someone asks me why I write.   I always have a tough time answering that question, and the best I can usually come up with is that I write because I have to.  Because not writing is not an option.  I know because I've tried it.  Repeatedly.

But anyway, Terry then led us through a series of questions about what we want to write, as in genre, and what topics we want to write about.  He had a bunch of great questions (my favorite: What is the best day of your life so far?) that we were to write quick answers to.  Like, really quick.  A few seconds quick.

From there we chose 3 to 5 answers that resonated with us and wrote a first draft of the beginning of a story.  The Loft students really resonated with this and it seemed to produce some work with potential.  And then the next step was to rewrite this piece, after a bit of discussion of revision.

(If I may interject here, and I may, I did a lecture years ago about Rewriting vs Revision, my point being that rewriting has to do with the big stuff–character, plot, theme, etc., whereas revision has to do with more detailed things such as word choice, sentence structure, diction and grammar.)

So anyway, it was a cool lecture.  And you could take one of his questions, answer it, and use it for the beginning of either a fiction or non-fiction (memoir) piece.   Take my favorite question, listed above and play with it:  what is the best day of your life so far?

And then report back and let us know what happened.  Also, feel free to share why you write.  If you know.

*I wrote about my friend Linda's lecture on conflict yesterday.  You can read it here.

 

Photo by christg.

Writing Process 3: Rewriting

This is part four of a continuing series of the writing process.  For the previous articles in the series, see the end of this post.

What's there to say about rewriting? You just get in there and do it, right? So what's there to write about?

Well, plenty.  For starters, let me make one thing clear: I make a distinction between rewriting and revising. 

Rewriting is what you do after you've written a rough or discovery draft, glumping everything onto the page.  You've written the rough draft, which is you figuring out the story for yourself.  And now you have to figure out best to present the story to your readers.  So you work on things like character arcs and ways to show theme and plot.  

Revising is what you do after you've rewritten that first draft a gazillion times and finally feel you've gotten all the big picture stuff down pat.  Revising has to do with word choice and making sure you have lots of different kinds of sentence structures, and grammar and punctuation.  (And its the subject of next Monday's post.)

So, here's the deal about rewriting: at first, its hard.  Because at first, especially when working on a long project, there's puzzlement about how to find a way back into your work.  The logical place to start is with reading it again, but that can be confusing, also.  Because, what are you supposed to be looking for while reading? How do you know what to change?

This is when giving your rough draft to trusted readers  (critique group or a mentor) can be incredibly helpful, because they can give you a starting point.  But what if you don't have access to such readers? Or if you're simply unwilling to yet show your draft to anybody(which is your right–follow your intuition about when to share)?

Here are a few tips:

1. Begin with reading.  Because, really, you've got to go back to the beginning and remind yourself of how it all starts.  I don't know about you, but by the time I've written some 350-odd pages, I have a hard time remembering every single nuance of the start.  Or even the middle.  So, print out  your manuscript, grab a pen and notebook, and go sit in your favorite chair.  The one where you sit to read books (of the sort written by other people).  Read through your manuscript and take notes.

2. Find a way in.  Your entry point might be something you notice about a character–how, for instance, he talks about his desire to become king in chapter 10 but really needs to inform the reader of this vital point a bit earlier.  Or maybe you realize that a crucial plot point is misplaced.  Or perhaps it is something small, like a description that you think could be rewritten.

3. Expand on your notes.  When you're finished reading the draft, go back over the notes you took.  Between the notes and the reading of your draft, you should now have a better idea of things you want to work on.  Turn your notes into a plan for rewriting, even if its just a to-do list.  This will help you enormously.

4.  Look for places to go deeper.   Rewriting is most often a process of adding to, not removing, contrary to popular opinion.  Far and away the biggest problem I see in scenes is that they are not developed enough.   There's not enough description, not enough scene-setting, not enough of the viewpoint character's thoughts.  As an experiment, choose a paragraph at random from your draft and pull it apart and add to it. You might hear this referred to as unpacking.

5.  Remember that rewriting begets more rewriting.  Because once you've changed certain areas of the story, other areas are revealed.  You've gotten the character arcs straightened out, so now the parts of the plot that need work are evident.  And so on. 

Those are my tips. By the way, an excellent book to use as a guide for rewriting a novel is: Writing The Breakout Novel Workbook, by Donald Maass.  (The companion book is Writing The Breakout Novel, but I don't find it as helpful.) Another, more general title, is The Artful Edit, by Susan Bell.

What are you best tips for approaching the rewrite?  Do you find any books especially helpful?

Previous Posts

The Writing Process, Again

5 Guidelines for Critiquing the Rough/Discovery Draft

Writing Process: The Three Ps of Glumping

The Value of (Groan) Structure

Structure_building_sunset_237219_l So, it was a weekend spent mostly away from the computer.  Two days spent celebrating my birthday with family and friends.

And suddenly it is Monday morning again.  Besides numerous manuscripts to read for people and a bunch of unfinished assignments, there's the novel rewrite to get back to once again.  And despite the fact that I'm feeling just the tiniest bit unfocused this morning, I am on it.  No really, I am.  On it.

Or at least I will be once I finish meandering about the internet writing this post.  But here's the deal–when I do get back to the rewrite it is going to be simple to ease right back into it.

Why?

I'll tell you why: structure.

Because I have a structure for rewriting in place.  Because when I finished up on Friday, I reviewed what I had already done (five chapters!) and looked ahead to where I would start after the weekend.  This was easy to do because of the structure I've created for myself.

Here's the deal: as writers and creative types, we resist structure.  I know I do.  I want to be wafty and spontaneous and free.  And yet this resistance has led me astray on several occasions.  Jumping into writing a novel without having the vaguest idea where I was going, for instance (I'm not talking about my current novel here, but an earlier one I wrote).  Or starting a knitting project without figuring out a pattern.  And don't even get me started on how many times I've headed off for an appointment without finding the address ahead of time.
Dome_structure_teatre_237225_l

Even though we resist structure, it is inherent in writing.  For instance, just by choosing a genre, you're imposing a certain amount of structure on yourself.  Say you decide to write fiction over non-fiction, you've already narrowed things down.  And then you can choose even further, if you want to write romance, mysteries, thrillers or literary fiction.  Each of these has a certain structure that you'll need to follow in order to get published, or even have a novel that makes sense.

It is easy to embrace the romantic notion that all you have to do is start writing, and voila, after a few hundred pages you'll have a novel.  Go ahead and try that and see what you come up with.  I've done it myself and gotten only pages of writing on yellow legal pads to show for it.

So, don't resist structure, it is your friend.  That being said, it can be a wobbly friend, or a rigid friend, or a fair-weather friend.  You can create a loose outline of events in your novel that is more like a list (what I did for this current novel), or you can create a very rigid, OCD-type outline, complete with roman numerals and all that.  But come up with something. 

And after you've created a structure for the actual novel, come up with a structure for how you will approach it.  Will you start at the beginning of one draft and go all the way to the end of it?  (My preferred method; actually I think it is the only way to write a decent novel for a variety of reasons I don't have room to go into here.)  Or will you be one of those writers who has to polish every word and every sentence before moving onto the next?  (The mere thought of working this way makes me cringe.)  Again, it is your choice.  But choose something.  Because once you have a plan, a structure, in place, it is so much easier to proceed.

And then when you come back from a weekend away and say to yourself, now where was I on that rewrite? you'll know the answer.  And you can get right back to work.

What are your favorite structures for planning and for doing the actual work?  Do tell.

Deconstruction of a Rewrite

EJmanuscriptnotebook Years ago, I asked one of my MFA mentors how to go about rewriting the novel I was then working on.  As I recall, she told me to sit down with the manuscript and re-read it.  Um, not the most helpful of advice.  Yes, it is imperative to reread a manuscript when you are going to rewrite it, but what are you reading for?  What should you be looking for?  How do you figure out what to do?  It is incredibly daunting to hold a 350 page manuscript in your hands and try to decide what to do first.

As most of you know, I've set to rewriting my novel this summer.  This after I was convinced that the 8 rewrites I had already completed would be enough.  But then an agent read it, said she was interested, and gave me comments on what she would look for if I cared to rewrite it.

Key word: comments.  Because hers gave me a way with which to begin the rewrite.  They fell into two areas:

1.  The main character, while funny, kick-ass and brash, is also bitchy and difficult to take at times.  (She's a woman who does what she wants, when she wants, and of course, if she were a male character, her behavior would not be an issue.  But that is a topic for another time.)  The agent felt that she would have better luck presenting the novel to editors if Emma Jean were more reliable.

2.  Some of the secondary characters are not fully developed.  Because Emma Jean is such a powerful character,  the others exist as sort of satellites to her.  While I understand Emma Jean intimately, I never pushed to truly get to know some of the res of them.  

So that is my charge, to make Emma Jean relatable and develop the most important of the secondary characters.  Before I began, I also kicked these comments around with my writing group (who have read the book every time I rewrote it) and other writers who've read part or all of it.  And here's how I have proceeded so far.

First of all, I took a trip to Office Depot. (Brief aside: when I was working on my MFA, after each residency I would take part of the money from my student loans and go buy supplies at Office Depot, so it is a bit of a ritual for me.) I bought a ream of three-hole punched paper on which to print the novel, and a pretty pink binder to put it in.  Then I languished in the journal aisle and eventually, after much pondering,
bought two small spiral-bound notebooks, one red, one black and white.  One became the journal I
wrote about the characters in, and the other became a place to take random notes that occurred to me as I worked on the characters and reread the manuscript.

Next, before I did anything else, even read the manuscript, I returned to the characters, specifically the three the agent mentioned as needing development.  I started by putting each of them through the Ordinary Day exercise, which I found incredibly revealing.  In some cases, that was enough.  In others, I did a bit more work, whether through time lines of their life or writing specific bits of backstory.  All of this proved so helpful that I did it for everyone of the characters, though some only got a few pages of effort.  I wrote it out in longhand, in one of the new journals.  For me, writing longhand seems the more direct route to my deepest self.

A note here: for reasons unknown to me at the time, I felt it important to work with the characters before I reread the manuscript.  It just felt like the right choice, and also I was a bit daunted to face reading the 350-page tome.  It proved to be a good move, as I was able to come up with fresh insights that would not have occurred if I already had evidence of what I thought they were like in front of me.

By the time I finished with the character work, my little red journal was starting to get lots of good notes and ideas in it, all written as they occurred to me, without making an effort to categorize them at this point.  Now it was time to read the novel.  But first, I pulled out as many colored flags and post-it notes that I could find (should have bought more at Office Depot) and made a key.  I used pink for Emma Jean's lover, orange for her husband, purple for the throughline about her bitchiness.  The point was to be able to track the characters and themes I really needed to focus on in this rewrite.  
EJmanuscriptopen

Finally, basket of flags and post-its at hand, I began reading the novel.  I made notes on the manuscript pages and in the little red journal, and flagged character arcs and throughlines madly, as you can see in the photos. (Interestingly, most of the flagging happened in the first two-thirds of the novel, which is where most of the rewriting will happen.)  I also made a list of chapters and what exactly happens in them, because I know from past experience how easy it is to forget.  (Does she meet Ava in Chapter One or Chapter Two?  Oh that's right, I made Chapter Two into two chapters, so now it's actually Chapter Three where they meet.)

So now I'm ready to actually rewrite, right?  Not quite.  Because my notes are a mish-mash of thoughts and ideas, scrawled as I read and wrote bios. 

In the final step before the actual rewriting, I spent a pleasant morning at my neighborhood coffeeshop with my friend and web designer (my website will be up soon!),making sense of my notes.  With legal pad, little read journal and list of what happens in each chapter, I began.  Going through the legal pad, I wrote #1 on the first page, #2 on the second, and so on, for 23 pages, which constitute the 22 chapters and one epilogue in my novel.  And then I went through my notes, and when something had to change in chapter one, I noted that on the #1 page, and so on through the book.

So now I'm ready to do the actual writing.  Which, I must say, will be far and away the easiest part.  I've done the heavy lifting already.  The pondering, figuring out, and conceptualizing are what is tough.  Now all I have to do is flip through the pages and add stuff in.  Easy, right?  Well, if you believe that I have a bridge for sale that I'd love to talk to you about.

Ah, nobody said writing a novel was easy.  And that is what makes it so much fun.  What about you?  What are your methods for rewriting?  Do you do as much pre-writing as I do?  Have a great tips to ease the process?

Rewriting: Its All in the Plan

Facing a rewrite can be difficult, if not downright daunting.

You've written a draft (or two, or three), gotten feedback, and now you're ready to make the changes in your manuscript.  So you open the file on your computer….and sit there and stare at the words on the page.

Let's admit it, sometimes confronting a manuscript page that needs rewriting can be as dreadful as facing a blank computer monitor.  How to make room in all those words for what you need to do?  What to cut?  What to add?  Where to begin?  Wouldn't it just be easier to shut down the computer?

What I've found is that I can just discover a way into the work, everything else will follow.  And often I end up tricking myself in order to find that way in.  So here's how I do it:

1.  First, I ponder.  I review the critiques I've gotten or the notes I've taken.  Sometimes I do this the night before I know I'm going to work on my novel in order to give my subconscious time to play around with the ideas.

2.  Second, I insert.  This is where the tricking myself begins.  I open the file and tell myself that all I'm going to do is insert notes–in all caps–places where I am going to make changes.  Then I go through the entire chapter and insert away.  This is not difficult because I already have the notes.

3.  Third, I rewrite.  By now I've reviewed and inserted and not only do I have a good idea what I'm going to change, I know where I'm going to change it.  The notes are all in place, ready for me to roll with.  And best of all, I can open the file and start anytime, knowing that I've marked up the manuscript and I know what I need to do.

I think its the not knowing how to proceed that stops me.  So I try to find ways to know ahead of time how I'm going to proceed.  It works for me.  By following this plan I'm generally able to convince myself to hop right to a rewrite.

Note I said generally, not always.  But I'll take whatever I can get.