THEN: EVERYTHING IN THE MIDDLE
Locate the emotional undercurrent of your book — what I like to call the Invisible Magnetic River — and review every word, image, metaphor, scene, character, and chapter. Look for scenes, even those you labored over for days that may no longer have any utility to the story, or images and metaphors that — though not poorly shaped — don’t fit the overall flow. Though it is heartbreaking to delete twenty pages of honest effort, this momentary agony is far more desirable than settling for a book that limps or sputters somewhere midway.
FINALLY: THE SENTENCE LEVEL
This part is the most fun for me, honestly, though perhaps I have an odd sense of what is enjoy- able. I love reading the manuscript through from beginning to end, every sentence, one at a time, OUT LOUD.
Listening to each sentence, feeling it inside of my mouth as I speak it, identifying words I use too often, finding phrases that fall flat, is an opportunity I don’t have in every- day life, in spoken conversation. Getting it right just feels good.
Often I improve a sentence by speaking it out loud, then trying another pattern, substituting an- other word, and then speaking the revised sentence out loud. My ear is frequently more helpful than my brain in identifying simple awkwardness and in recognizing the more vexing problem of sentences that sound good but say little.
Of course, there are days that re- writing can be a slog, just as writ- ing can be. There are moments in revision that I think I’ll never find the solution, moments of despair and discouragement.
But overall the process is invigorating, and when working well, invigorating for both my prose and my story.
The difference, in my mind, be- tween writers who are successful in finding an audience and those who struggle, is when and where in the revision process a writer throws in the towel and settles for “good enough.”