I frequently say that the most predictable part of my writing process is how unpredictable it is. As a writer, I’m a “pantser” — someone who drafts without plotting a great deal. Instead of utilizing an outline as I write, I favor following where the story takes me with a general idea of the book’s conclusion. The journey is different for each book I write, and I frequently find surprises along the way. However, as unpredictable as penning the first draft of my novel is, my revision process never varies, and that reliable system is a source of great comfort as I hone my novel.
Once I’ve finished the first draft of my manuscript, I implement my tried and true system. I always start with a revision pass on my computer. Since I often take months to write the initial draft, I read through the entire manuscript with the aim of getting a holistic view of the book. I’ll frequently discover that something I wrote when I started the book needs to be tweaked to fall in line with where the story took me later on. This revision pass helps me gain a better sense of how the overall story is working and whether any plot holes exist or character development is needed. I’m also fixing obvious flaws that jump out at me.
After I’ve reacquainted myself with the book and tweaked the plot and characters as necessary, I print out a hard copy and pull out my red pen. For me, this is where the magic happens. There’s something about editing your work in print that really helps you polish your writing. I spend a lot of time at this stage working on sentence structure, word choice, and adding layers and depth to the story.
When I’ve finished this second pass, I email the updated manuscript to my e-reader. I’ve found that I am much more likely to catch typos, mistakes, and awkward phrasing when I change the medium with which I view my book. If I’m used to looking at it a certain way, it’s easy to skip over things, but with variety, it feels fresh each time I revise. At this level, I’m mainly doing the never-ending typo search as well as cleaning up any awkward phrasing. I’ll also look for any formatting issues that jump out at me that make the manuscript less readable in a digital format, like unwieldy paragraphs.
Following these three revision passes, I usually take a step back and decide if I’m happy with the book, or if it needs more tweaking. The digital pass really informs that decision, because it’s the draft when I truly read the book as a reader would. If there are still things that are pulling me out of the story, or something isn’t working for me, I’ll restart the revision process and go through each step again. Some books only need three revision passes before I’m comfortable sending them to my editor (and then we start the editorial process); others need nine or more revision passes. The goal is to reach the point where I’m not making significant changes at the e-reader stage.
Because I often start writing a book with a skeleton of an idea and I love the freedom of being able to explore the direction in which my characters and plot take me, the structure of my revision process really works as a safety net. Whenever I feel stuck in the drafting process or realize something isn’t working in the book, I push through with the knowledge that the revision process will provide an opportunity to make the book shine. Whether you’re a plotter or a pantser like me, I recommend taking the time to revise your work across different mediums. It offers a fresh perspective — and you’ll be surprised what you find!
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