This past week I got back my first round of edits for my second book, Enterprising an Dangerous, the sequel to Worthy of Trust. Which is very exciting, but what does it look like to get edits back? What is my approach?
When I get the first round of edits back, they include a letter from my editor (Kerry) and a manuscript marked with her comments. The letter contains the summary of what is working, what needs work, and the main things she wants me to focus on for character, plot, and setting.
My first step—after I have let my editor know I got the email—is to procrastinate for a day before reading the letter. I did this same thing during my master’s program, which was for those who were and wanted to write for children and young adults. I needed a lot more time to psych myself up during my master’s program, especially those first couple edits, but I was getting back a letter and edits on a monthly basis, so I got used to taking constructive criticism fairly quickly. Now, although I have spent the last six weeks with some part of my brain bracing to get feedback (way less stressful this second time around), actually having them in in my inbox, there for me to read, holding the praise and criticism for work that I have poured years into . . . It’s like Schrödinger’s cat: as long as they remain unread, anything is possible.
But once I’ve given my brain an extra day to steel itself, I read the letter. While I read, I try to remain impartial—not letting anything upset or excite me too much or to start justifying to myself why I did something a certain way—and not to let my rewriting brain run away making plans. I also highlight the most important parts, so I can easily find them without having to read everything over again. Then I give myself time to digest the letter’s contents, mentally ordering what needs to be done, how certain changes might be made, and so on.
My next step is to find a legal pad. I love legal pads—so versatile and always lovely for making a list. I use mine to make a list of changes that need to be made throughout the novel in chronological order, mostly so I don’t miss anything. And it gives me great pleasure to cross items off as I complete them.
Finally, the real fun begins. And I do mean fun. I like editing and rewriting, enjoy it even. Sometimes, a piece I have been working on has been the same way for so long that I don’t think of other ways that that scenes could be written. Or scenes were added at the last minute, just to be sure they were included, and I need someone to point out how they can be incorporated better. Or I (foolishly?) did more research and need to correct scenes. All three of these are true in my current novel—among other things that need tweaking and polishing.
I have always been someone who writes long hand—at least for first drafts and, I have found, for edits and rewrites. My brain thinks better on paper. For some reason, I feel I have more permission to explore, to cross out, to rewrite. And I get to do it in fun colored pens.
I work my way through, comment by comment, idea by idea. Sometimes, just a mere suggestion that something could be different sparks an idea for rewriting the scene. Sometimes, it takes a little more thought and contemplation. Once I’ve gone through the whole manuscript once, I read it again on the computer, making more (usually) smaller edits. Finally, I print the whole novel and make another round of edits on paper. I think it is helpful to see something in several different formats. The brain—or at least mine—sees things differently when they are on the computer, in my notebook, or printed off.
When the last changes are made, then I send it back to my editor and begin to wait for the second round of edits to arrive.