As a book editor, I truly believe revisions are where the magic happens and the story blossoms. But many authors get overwhelmed by the process.
If revisions give you the heebie-jeebies, here are 3 methods you can use to get started (an #amediting 🧵):
1. Big to small: My rec! Start w/ big changes, like rearranging scenes, & then work through sentence-level revisions.
This requires more work upfront but can be efficient b/c once you get to the smaller edits, you’ll already have those bigger changes taken care of.
2. Small to big: Some authors prefer editing at the scene level 1st.
This can be an easier way to get started & pare down your editor’s comments (low hanging fruit). But some edits may become irrelevant when you move to bigger changes (ex: cutting a scene you already edited).
3. Chronological: Tackle ALL edits, big & small, chronologically as they appear in the story.
This helps ensure continuity between scenes, but it can be easy to fall down rabbit holes & get lost in revisions. It requires organization & discipline to keep the MS organized.
3 ways to revise your novel: 1. Big to small 2. Small to big 3. Chronologically
Or, you could use a combo of these! Each technique has pros & cons, so check out my YouTube channel for more details (link in bio).
How do you like to tackle novel revisions? #writingcommunity
• • •
Missing some Tweet in this thread? You can try to
force a refresh
Writing a book for the first time is such an exciting endeavor. I absolutely love working w/ debut authors!
That said, over the years, I’ve compiled a list of mistakes I often see new writers make. Here are 5 to keep in mind as you draft your first manuscript (an #amwriting 🧵):
1. One-dimensional characters. New authors’ characters sometimes lack depth & can feel like stereotypes or clichés.
Audit your characters’ actions. Are they always saving the day & doing good deeds? Always causing trouble & doing bad deeds? They should be layered & complex.
2. Backstory baggage. Spending pages detailing a character’s tragic past can seem gratuitous/melodramatic. Is this traumatic backstory important to the plot? If so, make sure we see how it connects to the events of the story. If not, cut it.
There is one thing novels at the top of bestseller lists all have in common: suspense.
But does your story have adequate suspense and do you understand how it works? Here are four myths about suspense in fiction & how to think about it in a new way (a 🧵):
Myth: Suspense is only for thrillers, crime novels or mysteries.
Regardless of genre, every narrative needs an element of suspense or tension to provide a sense of momentum & urgency, establish emotional stakes, & keep readers reading.
Myth: Suspense has to be melodramatic.
You don’t have to have someone committing a crime or being murdered; suspense can be more subtle. Something as simple as wondering which college a character will go to can create enough intrigue to get readers invested in your story.
For #amquerying authors, the 1st 10 pages are vital. They can determine whether an agent requests a full or passes on your query. If you’ve gotten feedback that your first pages aren’t engaging or just aren’t sure if they’re working, check them against these common issues (a 🧵):
1. Slow pacing. If it takes too long to reach the inciting incident, agents can lose interest. Aim to kick off the novel’s chain of events in the 1st 10 pgs. Not feasible? At least hint at what the story is building to. This establishes intrigue & a sense of urgency.
2. Uninteresting characters. If your MC comes off as a caricature or overly bland, agents won’t connect w/ them & won’t engage w/ the story.
This doesn’t have to mean we LIKE the character – we just have to be intrigued enough to get invested in their story.
Too often, authors think of exposition as something to avoid — but as I frequently discuss w/ my editing clients, some exposition is necessary to write an effective story.
Here are 6 tips to demystify exposition & some strategies you can use to do it right (an #amwriting 🧵):
1. Clarify the when & where. In the first 20 pgs or so, we should typically know:
- If we’re in the present, past or future
- Roughly what year it is
- Where we are geographically
- If it’s a real or fantasy world
Otherwise, your story can feel placeless.
2. Don’t info-dump. Avoid long standalone passages of exposition. But how to tell if you’re info-dumping?
Take out the exposition sentences & see if they can stand on their own. If they make sense out of the context of the narrative, you’re likely info-dumping.
Almost every novel includes dialogue, but it’s tough to nail. Bad dialogue can undermine your story & make your writing look amateurish.
Here are 5 tips based on the dialogue mistakes I often see as a developmental editor (an #amwriting 🧵):
1. Fix mismatched attributions. If the tag that comes after a line of dialogue follows any character other than the character who just spoke, the reader will get confused. Generally, make sure the speaker is the 1st person you mention after the line of dialogue.
2. Show reactions. Line after line of dialogue w/ no break becomes tiring to read. Show us what they’re doing during the scene, their emotional reactions, tone of voice, etc. These details make the dialogue more realistic, esp. if there’s a dramatic moment in the conversation.
You may have an incredible plot, great characters, & interesting scenes, but if your writing doesn’t hold up on a sentence level, it’s unlikely you’ll retain readers.
Here are 5 sentence-level mistakes I’ve seen new & seasoned writers make — & how to fix them (an #amwriting 🧵):
1. Redundant phrasing. Using extraneous words or phrases can make your writing clunky & hard to read.
Simplify your sentences. Make sure each word is necessary & serves a purpose. If you can take a word out w/out changing the meaning of the sentence, cut it.
2. Heavy-handed foreshadowing. Phrasing like “little did she know…” may SEEM like it builds suspense, but it actually tells the reader that something is about to happen & reduces the impact when it does. Let the reader experience the surprise when it comes.