The Story You Have vs. The Story You Want
Part 2 of How to start revising your novel
Welcome to the latest edition of the “Longhand” column, featuring deeper dives into writing topics. This column is a benefit for paid subscribers of Footnotes.
If you’re especially interested in novel revision, get on the waiting list to be the first to learn about my revision workshop, coming in January 2024.
In part one of this series, I discussed the first steps of my story revision process, which includes setting the manuscript aside so that you can come back to it with fresh eyes, then re-reading and breaking down the story that you have.
In part two, I’ll discuss how to take the story you have and turn it into the story you want during the next part of the revision process. But first, let’s talk a little more about feedback.
Getting Feedback
Writers have a myopic view of our work, but it takes both time and distance to see it clearly enough to even think about making improvements. Feedback can come in the form of critique partners, beta readers, or editors. The length and type of story you're writing, your publication path, and your deadlines will determine the source of your feedback, but the important thing is that you're getting another perspective on your work.
When I work with beta readers or critique partners, I like to give them a list of specific questions to focus on, as well as asking for their overall feedback. It’s also helpful to specify the level of edits you’re looking for.
Line edits are not helpful at this early stage, especially when revision often means cutting scenes, adding new ones, and rewriting certain scenes from scratch. And while giving readers a list of questions ensures I get the feedback I’m looking for, I want to make sure not to overwhelm them. Ten or fewer questions is a sweet spot.
As for the questions themselves, writers will often have gut feelings about what isn’t working in the story. I ask for opinions on the things I’m worried about, as well as some general questions about what they liked and disliked, what worked best and worst, and the like.
Developmental or content edits from a freelance or acquiring editor work a bit differently. You will generally receive an edit letter with their comments and/or a marked-up manuscript. You can also follow up with them with questions you have about their remarks and any issues you may have identified that were not brought up in the letter.
It takes time for someone to read your work and come up with cogent critiques, and this is time you should spend away from the manuscript getting that necessary mental distance. I try my best not to think about the story at all, knowing that the more I forget what I’ve written, the more clear-headed I’ll be when I tackle the revision. It’s best if the text is as new to you as possible and you can read it like it’s the first time you’ve ever seen the material. Some of this is mental gymnastics, but I find it helpful.
Dealing with Feedback
Receiving feedback is also an art in and of itself. Sometimes the critiques can be painful. It’s always difficult when others don’t understand your genius. I suggest reading responses then setting them aside for a day or two or even a week, if possible. Especially if the feedback leaves you smarting and makes you question your writing abilities—something which happens to virtually all writers.
Getting even just a little time from the feedback helps to put it into perspective. It’s perfectly normal to be angry or upset for a short while. Take the time to grieve your idea of having written the perfect manuscript, then come back to it, read through the comments again, and get to work.