In a previous post, I had created the main protagonist of the next Ravanguard-related short story for the second newsletter slated to be released at the end of August. I think I will put that on hold for now (apologies to those who contributed to the character building exercise we shared). I will come back to it but I think I’d like to use the newsletter as a means for writing a short story for the Shoals to the Hallowed. You, the subscribers, will receive more context into the world and it will hopefully connect some dots as well.
Also, my previous plan to have 12 POVs is now being cut to 6 so that means in July, we will be returning to one of the characters you’ve all previously been introduced to. I may even try to squeeze in two flash fiction posts from time to time but it all depends on my schedule. Thank you for reading and continuing to support me.
Onto the post!
The more I do it, the more I think a first rough draft of a story is simply pushing from beginning to end. There’s so much that can happen along the way and the writer can plan and outline and still come away after that last page is finished and be surprised by some twists and turns. I actually enjoy starting a story and not knowing where it will end. It allows for growth and space. When I’m surprised by something that happens, I know the reader will be too.
I could easily go on and on but I wanted to bring to light revising tips I’ve accumulated over the years. There is no true rule or standard for revising. It’s simply polishing the rough edges of the manuscript.
One thing I look for as I revise the flow of words. Is there one? Or does the paragraph or dialogue read congested or even constipated (bad imagery I know). There’s a rhythm to language that can and should be utilized in storytelling. Sometimes, it can be rough but that usually falls in line with a particular character, mood, or tone set before. Sometimes (in my experience), this requires some adding or removing of words or even rewriting the paragraph or dialogue altogether. Either way, it’s about not putting the reader in a place where it’s difficult to keep reading.
Another thing I look for when I revise is detail. Is there too much or too little? This is a bit of a chess game between me and the page to be honest. It’s not a simple, “Oh, I forgot to say what color that woman’s dress is.” No, it has more to do with whether or not the scenery/character/conflict is lacking in any way.
I’ll often find that I use words improperly that I mean to have a specific connotation in relation to the colors or sounds in the scene. Appealing to the senses is essential as a writer. We want the reader to be immersed in the action taking place in front of them. If I fail to provide a detail even as minuscule as the sound of footsteps approaching or the creak of a door when someone unexpected enters a room, I’m denying the reader an experience.
These are just a few of the things I look for and are mindful of when revising. It’s difficult but when I look back at the early scenes/chapters I wrote for “So Speaks the Gallows”, I have to remember that much of the world and characters were not fully fleshed out at that time. I wrote the first chapters almost ten years ago now. So much has happened since then and I’ve grown as a writer, able to look at how I write now to those first rough drafts of chapters and it’s truly gratifying to know I’ve grown and not been stagnant.
Call to Action: I haven’t said it in awhile but you should sign up for the newsletter when prompted on the website. Maybe the promise of a Shoals to the Hallowed short story will be more enticing to some who have resisted so far.