Hi All: As promised, I’ve now got the answers to a number of questions that you all submitted to Renni Browne by posting comments on this blog a few days ago.
As most novelists know, Renni Browne is the co-author of “Self-Editing For Fiction Writers,” which is the bible of self-editing for fiction writers. If there is any book that is required reading for a novelist, this is it. Renni is all the founder of The Editorial Department, a renowned team of freelance editors. Check them out to see the company that defines great editing.
Let’s look at a few of the questions you submitted.
It seems craft is like peeling the proverbial onion, always more to learn. How do I know when to quit revising?
Renni answered: Oh, dear. The answer to this one depends so much on your level of confidence. I can say that many writers get to an Aha! By which I mean, a stage where they have a feeling–however shaky, however fleeting–“This is good, this is what I was trying for.” If you get that feeling upon reading a heavily revised draft, stop messing with it. Also, professional feedback at this point can be invaluable.
Randy adds: There are two kinds of writers who have this sort of feeling–Freshmen and Seniors. It goes without saying that Freshmen who get this feeling are delusional. It’s a sweet delusion, of course. I remember thinking my writing was brilliant, Pulitzer-ready, staggering-genius work when I was a Freshman. It turned out to be crap, and I’ve never had that feeling again, but it was nice while it lasted.
Now Seniors will get a similar feeling, but it’s a bit more mature. It’s the feeling you get when you’ve hit a thousand baseballs and you whack one especially well, and you know even before you see it fly over the fence that you’ve parked this one, baby. It’s an intuition, and it comes from experience. Be aware that Seniors can also be delusional, but about half the time, they’re not. Hence the need to get a second opinion.
I love, love, love “Self-Editing for Fiction Writers.” One area the book doesn’t cover, though, (and which I’d love to hear more about from Ms. Browne) is macro-editing. Are there any techniques or tips for large-scale novel editing? Tangled plots? Weak characters? Broken structure? I can really dig into scene-by-scene editing, but big-picture editing is a nightmare. I have a few novel-length manuscripts languishing on my hard drive because I don’t know how to tackle the large-scale editing needed to make them work.
Renni answered: Most writers don’t find books all that helpful in this area. What helps is feedback, and — it has to be said — by all means get professional feedback if you can afford it. At The Editorial Department we’ve been critiquing plot, characters, and style for $2.00 a page, making specific suggestions in all these areas, since I founded the company 27 years ago. If you can’t go this route, you may get lucky with a teacher, a writer, even a friend who reads a lot of fiction and is willing to tell you the truth as opposed to what you want to hear. Nonprofessional feedback is risky, though. Professional feedback is sought by very good writers (many of them published) for the most elemental of reasons: Your book is your child, and who among us can be 100% objective about our children? As an editor for T.E.D. I’m not doing anything different from what I did when I was an editor at Scribner’s or Stein & Day or Morrow in the 60’s or 70’s. But publishing house editors (with very rare exceptons) don’t do what I do any more. Manuscripts that need editing–which is virtually all manuscripts, especially first novels–just get rejected. And they don’t get rejected by the publishing editors, who never get to see them, they get rejected by the literary agents writers approach, knowing that publishing editors won’t read them unless they’re agented.
Randy adds: The first time I hired a freelance editor to work over my manuscript, I thought I couldn’t afford it. (This was my third published novel, so I had written my first couple and edited them with only the help from the publishing editors.) But what I discovered is that freelance editors are gold. I learned an amazing amount by reading those hundreds and hundreds of detailed comments from my freelancer. Since then, I’ve worked with freelance editors on virtually every book I’ve done. And a lot of my published novelist friends do the same.
Having said that, I’ll also say that on the macro-editing, I still get a lot of bang for my buck by using the Snowflake method to solve the structural problems. It is not unusual for me to revise my Snowflake through about four versions before and during the first draft of a novel. Then when I’ve run it past my freelance editor, I’ll tweak the Snowflake up again before I do any revisions. And after my publishing editor has given me comments, the first thing I do is revise the Snowflake again. (It’s much easier to revise a 40 page Snowflake document than a 400 page manuscript.)
We’ll continue tomorrow with more questions and more answers. See ya then!