This week, along with spending time with my boys for their spring break, I am working full days on novel revisions. The first 2 days, I was writing new material and then integrating all new “add ons” into the existing draft, then printing it out. Deep breath. Then, yesterday, I decided to try out a whole new strategy for novel revision.
First off, as with other posts in my Novel Revision series, this is a revision strategy intended for a mid-level revision. That is, at least one complete draft has been accomplished (more about that below). If you want other ideas about novel revision, click this link for a full listing of posts in the series or look for links at the end.
If this novel revision strategy doesn’t work, you’ll hear me cursing. But, so far, I can see merit, so let’s try it out.
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Stage in Revisions
The novel draft I am working on has held together as a novel for at least a year and has gone through several revisions to develop the internal and external conflicts, so that I have my permanent story line in place. The characters are fully developed. It is at the revision stage of working together scenes from multiple revisions, purging out weak portions from early drafts, and working toward smoothing out what will be a final version (prayers skyward).
Where did this approach come from?
Within recent weeks, two writers I follow each shared this piece of advice, here in a tweet by Alexander Chee:
Revision tip 2: Revision means more than fixing sentences. Retyping a draft fixes the problems you can’t fix just by fixing the sentences.
— Alexander Chee (@alexanderchee) February 24, 2014
By coincidence, I had just heard the same strategy in this New School interview with Anthony Marra, whose Constellation of Vital Phenomena I’ve been reading:
At about 7:30 into the interview, Anthony answers a question about how he came upon the narrative style of the award-winning novel, in which there are no minor characters.
Explain the Revision Strategy
In sharing how the style came about, Anthony explains his writing process this way:
“I retype everything. That is sort of my revision method: just retyping and retyping. I’ll print out a draft as soon as I’m finished and put it down in front of the keyboard and go back and retype the whole thing… This process of retyping, I feel like it’s the way some painters paint the same landscape again and again because… you start seeing it more through your memory than through your eyes…”
Tell me you didn’t say, “retype the whole thing.”
I know. Isn’t “retype the whole thing” the great nightmare we all have of what would happen if the computer crashed, losing all but that one print copy?
Do the math: Type 30 words a minute? Maybe you’re lucky and type 60 or even 100? Yeah, divide your novel’s word count by that. Starting from scratch on all those finished pages – you’re staring down the long road of WEEKS worth of typing.
As the groan ebbs, the more patient writer inside — the one who genuinely wants excellence — toys with the idea, thinking, “What might I fix more authentically if I were typing this manuscript in from scratch?”
My Manuscript Tests it Out
My novel draft is in a good place for this kind of revision.
- I want to read the whole thing through.
- I want to make major revisions to resolve differences in voice that come from working on a novel over a few years’ time.
- I’m willing to drop any scene or sentence or word that isn’t working.
This is a great point to be recreating the story on a blank page, rather than just tweaking an existing draft.
And I type nearly as fast as I think. It may be faster for me to retype what I like than to mark up a draft and have to go back and implement those changes, knowing they still won’t perfectly fit with neighboring text.
So How’s It Working?
Two days into this approach I’ve typed in 6,993 words (or 19 pages) which is essentially the first chapter (or first chapter and half).
Retyping has been a great approach for this section of revisions, as 1) I needed this part of the novel perfected to submit as writing sample with a couple applications, and 2) the existing draft was made up of a handful of draft options.
Retyping went very smoothly. I typed in the first 4 pages exactly as they were, as I’ve revised them several times, although I discovered some obvious sentence errors in a couple places. I then cherry-picked 4 old scenes to rescue just key details and wording. Then I typed in, nearly verbatim, a couple recent drafts, which are closest to my intent with the narrative voice. There was one small chunk that I cheated and used copy-paste to transfer. Sue me.
There were several pages of text I willingly dropped. In particular, it was good to see those “explain,” psychology-heavy sections from early drafts falling behind on the cutting room floor. This is why I wanted to use this process. I kept only the best wording — only wording that felt strong enough to be worth typing again.
It does take a bit of time. I did the math but refuse to accept it would really take me 219 days to retype this thing. I’d like to claim faulty division and tell myself I can do it by May.
Have issues with your eyesight? I don’t normally but would empathize with anyone who does, as I injured my eye last month, which has made my vision more sensitive, and it is a little demanding on vision to go back and forth between the print draft and on-screen draft.
Worry about losing one of those darlings you slaughtered? I have a longstanding practice of saving a “cuts” document for anything I delete from a draft, because I can just cut it and paste it there. Technically, I still have that record, as I have the old draft saved, but I have not been clearly marking the printed text to keep track of words or sections I chose to exclude while typing. Keeping colored highlighters on hand would help with this: highlight one color for deleting and another if you are thinking to move something to another part of the manuscript.
Ah, typos. For anyone who’s already gone through a draft correcting dropped letters, misspellings, capitalizations or dropped words, this is the little nightmare: retyping exposes you to a whole fresh round of typos. I’m sure that writers using the retyping method just address those on the final version, or aim to do their best correct them with each round. < Note the irony of typos in that line? Point made.
Definitely, I see a value in this revision process, so will keep it in my toolbox, although I don’t know that it will become my one and only process. I’ll post an update over the coming weeks to see if I stick with this process through the whole draft.
My biggest concern, overall, is that it is very tempting to make drastic revisions when retyping. This could be good — it lets you release those outgrown darlings readily — but that also means that the current revision can only be as good as I am on the day I’m retyping any revisions. Although, just as easily, one could tune out and simply type what’s there without real revision. I’ll let you know how it goes.
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How About You?
Are you at work on revision? Have you tried this strategy? Or, what strategies do you recommend? Feel free to share links to your own posts if you’ve written about your own favorite approach.
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More from my Novel Revision series:
- Click here for a full list from the series
- Hit List of 6 Things to Edit Now
- Novel Revision Strategies: A Day’s Work in Pictures
- Novel Revision Strategies: Printing for Read-Through