Editing and re-drafting – a checklist, part onePosted: March 22, 2017
This week I thought I’d write a blog post detailing some of the things to look out for when re-drafting and editing your novel. I’m currently at this stage in my own novel writing journey and it’s arguably the hardest stage so far – perhaps even worse than the dreaded first draft. I will be referring to this list continuously myself as I draft, re-draft and hone my novel and I hope it will be just as useful to you. I have split this post into two parts as it would have been a little bit too long to be one. Part two is now live and can be found here.
When writing dialogue, keep fancy dialogue tags to a minimum. There is nothing wrong with plain old ‘said’. Changing it up every now and then to add variation and drama is fine, but if your novel reads like:
Fix it, because it does get annoying. I recently stopped reading a novel 3 pages in because I just couldn’t get past the annoying use of tags.
Show don’t tell
Sorry to bring up the obvious – and you will have heard this numerous times – but it’s important, hence why it keeps cropping up. Show the reader your protagonist is distraught through body language, don’t tell them straight up that your protagonist is ‘sad’. Telling instead of showing distances the reader and this is the last thing you want to do.
Even worse than telling is over telling. If you’ve dedicated a whole paragraph to describing how your MC’s (main charactrer’s) love interest is sad, think about it – could this have been portrayed by describing her drooping shoulders or a flicker in her eyes?
Another obvious yet important point. Even the most well-crafted sentence or most beautifully-designed story world can be completely undermined by a single typo. It’s a sure-fire way to ensure both readers and agents stop reading immediately.
Keep an eye out for repetitive dialogue, imagery or word use. Also, check that you aren’t repeating something in dialogue that’s already been said via inner monologue and vice versa. As well as this, watch out that you don’t mention something unimportant more than once, as you risk bringing too much attention to it. The dad character is too busy on his mobile phone to pay attention to your protagonist? Great, mention the phone once and then leave it, don’t keep referring to it after every mention of the father.
Dialogue should be interesting and believable. Are your characters saying hello every time they meet? Cut it. Are they discussing something in unnecessary detail, purely for the sake of the reader? Cut it.
Example: If your MC and his mother are talking about that time when MC’s sister tried to kill herself, they wouldn’t discuss it like this, as they both already know the details of what happened.
“Mother, I don’t want to leave her because she tried to kill herself seven months ago by taking 20 packets of pain-killers.”
This exchange is being used purely to relay backstory to the reader and it shows. There’s no subtlety or intrigue and it’s just plain amateur. There has to be a better way to get the information across.
Also, make sure there is a point to every piece of dialogue included. Don’t include a rambling conversation between your protagonist and their next-door neighbour purely to set the scene, unless of course, the neighbour is an important element of the storyline.
The mirror scene
Ah, the good old ‘using a mirror to describe the appearance of the first-person protagonist’ trick. There is nothing inherently wrong with a mirror scene, but think carefully about having one and if you do, make sure it is interesting. I have one in my novel at the moment and I’m debating getting rid of it entirely. It’s a good device to use to describe your protagonist, but it’s done so often that it’s becoming a ‘trope’.
Cut lectures and long, preachy paragraphs
A well-written novel will have substance and morals, but these will be weaved subtly throughout and won’t be force-fed down the reader’s throat. Avoid sounding preachy by cutting down (or even cutting out completely) long paragraphs used purely to relay your opinions on certain divisive topics.
Cut the exclamation marks unless absolutely necessary
Pretentious, annoying names
Keep an eye out for these. Unique names are great, ridiculous ones are off-putting.
Do all your novel elements make sense together?
At risk of sounding mean and crass, if you’ve just dumped every interesting thought you’ve ever had into your novel, then chances are, it’s not structured or well thought out, and will only be interesting to you, and you alone. If you’ve got a load of cool but vaguely (if at all) stitched-together ideas, then perhaps you need to seriously think about your story structure. If you’re serious about publishing your novel once it’s done, perhaps take one of the interesting elements and play with that and cut anything that doesn’t fit with it.
Insta love – it’s a word that appears on Goodreads a lot. Some readers love it but most hate it. People don’t just fall in love in seconds or even days. Lust perhaps, but love, no. Build up the relationship believably before you plunge in with the L word.
Do you have too much backstory or exposition in one paragraph or even in one chapter? If so, consider drip feeding it instead. Also while you’re at it, think – do you really need a whole paragraph to describe something when in fact a single sentence would do just fine?
Are you giving things away too quickly?
I read a novel that did this quite recently. Basically, the novel was about a present-day female protagonist who was brought back in time to marry a lord in medieval Scotland. Sounds great, right? Wrong! Instead of joining the protagonist as she wakes up in medieval Scotland with no idea what had just happened to her, the readers are told within the first chapter what is about to happen to her via several paragraphs of clunky backstory. What could have been an intriguing, drip-fed premise had been laid bare in a single paragraph and explained in painful detail. Why should I read on when I already know what is going to happen?!
Characters referring to each other by name all the time
That’s not how we talk. Period.
Too much lengthy description about unimportant things
Yes, scene-setting is great but please don’t discuss your MC’s handbag through three paragraphs of detailed description if it’s not relevant to the plot.
If your twist comes out of nowhere, then you may need to go back and add in little hints as to what’s to come. Yes, it needs to be a surprise (it’s a twist after all) but it needs to also be believable. If all of a sudden your MC turns into a frog because of a curse you need to at some point discuss said curse beforehand, even if it’s just briefly.
And that’s it for part one. Now on to part two.