Revisions, and why we do them

It's that time of year again, where teachers and students get down to the business of learning.  As many of you know, I teach writing.  And part of writing, and of teaching writing, is revision.  I have a fairly short assignment that I'm doing with one of my classes, one for which I asked students to submit a draft last week so that I could go through and suggest changes.  Only about half the class sent drafts to me originally, then I had a few stragglers submit theirs after the initial ones were returned.  I still have yet to see about a quarter of the assignments.

After the first batch of suggestions and edits, I told students several times to re-submit their work so that I could go over it again.  Less than half of those who submitted have done this, but more are trickling in now that I've begun to hand those back.

Those that haven't submitted drafts by now are out of luck, as the assignment's due next week and I don't see them again until Tuesday.  Of those who've only submitted a first draft, several have asked why they'd need to submit again, considering, as they put it, "You've already corrected all the mistakes, so why bother?"  Then there's the third group, some of whom are horrified to receive a second edited / commented draft that seems to have more writing on it than the first.

I think I'm going to have to put a handout together on the stages of editing, explaining what instructors (and editors) are looking for in the various drafts of a document.

Personally, I like to do at least four sets of revisions.  The first set focuses on larger problems, the most significant of which are barriers to reader comprehension.  The second set focuses on logic, flow, and (for technical writing) accuracy of content.  The third set involves a closer look at document flow, and a first-pass detailed edit.  It's not until the fourth set of revisions that I'm looking to do a detailed copy edit ... and that's if we've managed to get to this stage, as sometimes I have to do two or three passes looking for and fixing barriers to comprehension.

The long and short of it is that multiple edits are needed, especially if you want to produce the best possible document, whether it's a technical report, a poem, or a novel.

Rejections

I'm in the process of making final selections for the upcoming issue of Wolf Willow Journal.  It's been an interesting process, and one that I'm really enjoying.  But I'm fast approaching the point at which I'm going to have to send out a bunch of rejections.  And I'll admit that there's good work that's been submitted that I likely won't accept because it just doesn't fit with where the issue is going.

I was reading a post on one of my Facebook groups yesterday, where an author was bemoaning the fact that she'd sent a particular piece out five times, and received five rejections.  She was ready to give up.  There were the usual "editors have no idea what they're doing" responses, and there were the "I had to submit 200+ times to get x published" responses.  I've had work accepted the first time I've sent it out, and I've got other work that's been submitted numerous times, to no avail.  That seems to be the way it goes, with publishing.

So, what next for the poor writer?  Perseverance and belief in yourself are one key.  Making sure to do thorough market research is another key.  Submitting the best work you possibly can is another, and one that I harp on again and again because, well, it's important.  But none of these guarantee publication.  That's up to us fickle editors, unless you choose to self-publish.  But do remember that a rejection isn't necessarily a critique or comment on your work ... sometimes, it's excellent, but it just doesn't fit.

Perception and misperception

I'll admit it.  I'm a bit of a grammar snob.  Okay, more than a bit, but seriously people, if the first impression you're going to make on someone is through the written word, would you mind proofreading what you're sending out before you hit ?  The source of my ire this evening is a tweet from a popular provider of literary services, a tweet that suffered from a case of plural/apostrophe confusion.  I'm sure they're nice people, but I certainly wouldn't want my work edited by someone who gear's up for things.  

Snarking aside, there's a reason people suggest time and time and time again that your cover letter--whether for a poem, short story, article, book, or whatever--should be perfect.  This is the very first impression that people have of you and your work.  And, perception being what it is, we tend not only to favour first impressions, but also to hang on to negative first impressions.  Not what you want to be doing, especially if your intention is publication.  

So while a typo might be an oversight, the resulting misperception on the part of the reader about your grammatical prowess (and thus your overall writing abilities) is going to be difficult to change.  Take the time to carefully proofread everything you send out, otherwise you might find yourself the victim of misperception.  

Thinking about writing

We're back home, with a mountain of stuff to unpack, after having spent seven weeks at the lake, with somewhat limited Internet access; hence the dearth of posts over the last few weeks.

I'd love to say that I wrote lots, every day, but it didn't happen.  I was too busy having fun and doing stuff with the kids, and while I didn't do a lot of actual writing, I did do a lot of thinking, which got me thinking about thinking about writing.  Convoluted, I know, but there's a point here, if only a small one.

Sometimes, it's the thought that counts the most, the time spent behind the scenes before we put pen to paper and begin writing.  It's all the daydreaming, pontificating, whatever-you-want-to-call-it that we do when a character or idea is born.  It might not be present on the page that particular day, but a few scribbled notes is usually sufficient for later, for remembrance.  It's time spent exploring ideas, options, and the minutiae of a character or idea, background work, if you will, for when that character of idea is brought to life.  And it doesn't always have to happen before, but I really do think that it needs to happen to add the depth, breadth, and real-ness that our characters and ideas need.

So while this brief post, written in the midst of a seeming sea of Rubbermaid tubs begging to be unpacked, might seem only tangentially related to editing, I'm a firm believer that putting the thought into characters and ideas before editing is something truly worth thinking about.  Off now to ponder my latest project while putting away a summer's worth of clothes, toys, and other detritus.

Self-Editing for Fiction Writers: Where the People Are

It's been a busy, busy summer so far, and I'm just beginning to reach the almost caught up stage, just in time for things to get busy again in a few weeks.  In the meantime, I've been doing a lot of reading and editing, during which one thing has stood out:  where the people are.  I don't mean missing characters, or where they are in relation to your setting.  What I mean is where they areas the action's happening.  

I've read a few books lately where characters seem to teleport into and out of scenes on a regular basis. You think you left so-and-so back in the restaurant, and suddenly they're in the thick of the action ... but where'd they come from?  Were they there all along, or did they just appear?  Readers need to know.

So, when it comes to self-editing, take a close look at each scene and/or chapter, and at the characters who appear in it.  Is it obvious that they were present all along, or are they lurking in the corners, doing their best wall-flower impressions, only to leap into the action when they're needed most?  Continuity is important, as it prevents readers from being pulled out of the story by awkwardness, and a little bit of attention to detail in instances like these can go a long, long way.

Suggestions for new writers: Read, read, and read some more.

I've spent some of the morning reading through submissions for the fall issue of Wolf Willow Journal, and am, in between virtual meetings, trying to get submissions for novels and poetry chapbooks ported to my iPad so I can read them (and make notes) while we spend Thursday and Friday travelling to our summer house.

I'm currently scarfing down lunch, with a chaser of scalding hot espresso, while weeding through a pile of submissions.  I'm also adding to my list, which I'll post later this summer, of things poets (and other writers) should not do, under any circumstances.  But I've gotten sidetracked, which is wont to happen when I'm multitasking, so I'll rein my thoughts back in and set them back on their proper course.

Probably the single most important thing I can suggest new(er) writers do is this:  READ.  And don't just read a little.  Read a lot, an awful lot, then go read some more.  Read within your genre, read outside of it.  Read the good, the bad, and the ugly.  You'll learn something from all of it.  Now, go read even more.  Yes, I probably sound like I'm standing on a soapbox, preaching.  I am.  For a reason.  Reading will help you improve your writing!

One of the reasons that I suggest this is that reading gives you a broad perspective on how other people choose and use words, and to what effect.  It's one thing for me to tell a fledgling writer to broaden his or her use of language.  It's quite another to send them delving through various genres of literature, to see what others have chosen to do with language.  I can tell a new writer that Milton's language is full of vivid imagery, but that same writer is far, far better off to actually go read Milton (including Paradise Lost) and make notes on the passages and phrases that really strike a chord.

Now ... go read a book (or five)!

Self-editing for fiction writers: Character sketches & character continuity

It's been a busy week around here as I'm winding up a couple of editing projects, getting some of my own writing organized, and getting ready for summer holidays.  Part of my organizing was creating extensive character sketches for one of my works in progress.

I haven't always been a big fan of character sketches.  After all, the sketch doesn't end up in the finished work, so there's part of me that looks at it and thinks it's a waste of time.  As an editor, however, I can say that these are one of the most valuable things you can write for your work.

Writing is, for many of us, an organic process.  Many fiction writers eschew outlines, and those who do use these find that sometimes characters develop minds of their own and go off in unexpected directions.  This is one place in the editing process that character sketches can really help.  If we know that we're dealing with a 100-year-old vampire, are we going to expect that same character, on a whim, to start behaving like a whiny teenager?  Likely not.  If we have a complete sketch of that character, we're going to have a far better idea, as writers and editors, of (1) how to identify when a character is behaving "out of character" and (2) how to fix that behaviour so it is in character.

My best suggestion, to improve character continuity and ensure that characters behave and react appropriately, is to make sure that you know what is appropriate for that character.  It might be as simple as creating a one-paragraph character sketch, describing the character from his/her own point of view.  Or it might be more complicated, involving a character "interview" using a tool such as the Proust Questionnaire or one of the many other character questionnaires available online.  Regardless, it's time well spent.  And anything that decreases editing time is a good thing, in my books!