<!-- Revision and Editing skill - self-editing techniques for fiction prose -->

revision-editing mode: DRAFT COMPLETE, NOW THE REAL WORK BEGINS

when this skill is active, you follow systematic revision discipline.
this is a comprehensive guide to self-editing fiction with precision.


PHASE 0: PREREQUISITES VERIFICATION

before beginning ANY revision, verify the draft is truly complete.


check: draft status

is your first draft FINISHED?

definition of finished draft:
  [ ] beginning, middle, and end exist
  [ ] main character arc is complete
  [ ] central conflict is resolved
  [ ] all scenes are written (even placeholders like "scene goes here")
  [ ] word count meets minimum target (if you have one)

if not finished:
  DO NOT EDIT YET
  finish the draft first
  editing while drafting kills momentum
  return when draft is complete

the golden rule: draft and edit are separate modes
  drafting = creative, expansive, messy
  editing = analytical, critical, precise
  never do both at once


check: emotional distance

have you stepped away from the draft?

recommended cooling period:
  short story (1k-5k words): 1-3 days
  novella (5k-40k words): 1-2 weeks
  novel (40k+ words): 2-4 weeks

why distance matters:
  fresh eyes see problems
  you forget what you "meant" to write
  you see what you actually wrote
  emotional attachment weakens

if you just typed "the end":
  put the draft away
  do not open it
  wait the recommended period
  start something new
  return when you can surprise yourself

verification test:
  open to a random page
  read without cringing
  if you see only genius: too soon, wait more
  if you see only garbage: too raw, wait more
  if you see both: ready to edit


check: tools ready

do you have your editing tools prepared?

physical environment:
  [ ] quiet space for focused work
  [ ] comfortable seating for long sessions
  [ ] printed copy (recommended for first pass)
  [ ] red pen or highlighter
  [ ] notebook for revision notes

digital environment:
  [ ] backup of original draft (never edit without backup)
  [ ] version control or dated copies
  [ ] distraction-free writing mode
  [ ] spell check temporarily disabled
  [ ] grammar check temporarily disabled

why disable automated checks:
  spell check misses contextual errors
  grammar check misses style choices
  you need to see patterns yourself
  learn from your own mistakes
  automated checks come LAST

backup command:
  <copy>
  file: draft-final-v1.docx
  to: draft-final-v1-backup-YYYY-MM-DD.docx
  </copy>

work on copies, never originals


PHASE 1: THE READ-THROUGH


first read: the story vacation

purpose: experience the story as a reader

rules for first read:
  [ ] do not fix anything
  [ ] do not take notes
  [ ] do not judge yourself
  [ ] read at normal pace
  [ ] finish the whole thing

this is NOT an editing pass
this IS a reader experience

what to notice (mental notes only):
  where did you get bored?
  where did you get confused?
  where did you stop believing?
  where did you want to quit?
  where were you delighted?
  where did you cry?
  where did you laugh?

emotional map (mental only):
  high engagement zones: note them
  low engagement zones: note them
  confusion zones: note them
  belief-breaking moments: note them

finish before making any changes.
the forest before the trees.


second read: the big picture log

purpose: identify structural issues

create a scene list:
  <read>
  for each scene:
    - scene number
    - POV character
    - location
    - what happens
    - what changes
    - word count
  </read>

scene list example:
  scene 1: maya arrives at airport, POV maya, discovers luggage lost, 1200 words
  scene 2: maya at customer service, POV maya, meets love interest, 2500 words
  scene 3: love perspective of same interaction, POV james, 1800 words
  ...

analyze the scene list:
  [ ] does every scene earn its place?
  [ ] are scenes in the right order?
  [ ] are there missing scenes?
  [ ] are there duplicate scenes?
  [ ] does tension increase?
  [ ] does each scene change something?

if scene cannot answer "what changes":
  cut it or merge it
  or identify what it should change


PHASE 2: DEVELOPMENTAL EDITING


what is developmental editing?

big picture revision.
story structure.
character arcs.
theme integration.
pacing and flow.
NOT spelling, grammar, or word choice yet.

developmental editing questions:

the story promise:
  [ ] what genre is this?
  [ ] what promises does the opening make?
  [ ] does the ending deliver those promises?
  [ ] if promises change, is the new promise set up?

example broken promise:
  thriller opening promises suspense
  middle becomes romance
  ending is family drama
  reader feels betrayed

example kept promise:
  thriller opening promises murder mystery
  middle builds suspense and clues
  ending reveals killer in action sequence
  reader satisfied


the character questions:

protagonist:
  [ ] what does the protagonist want?
  [ ] why do they want it?
  [ ] what stops them from getting it?
  [ ] what do they learn by the end?
  [ ] are they different at the end?

character arc test:
  beginning state: identify in 3 words
  inciting incident: how does it disrupt their world?
  midpoint: what do they believe now?
  low point: what have they lost?
  climax: what must they sacrifice?
  ending state: identify in 3 words

if beginning state = ending state:
  no arc exists
  character stayed static
  reader may feel unfulfilled

exception: static characters can work if:
  the world changes around them
  they reveal hidden depths
  their stasis is the point
  this is intentional, not accidental


antagonist:
  [ ] what does the antagonist want?
  [ ] why do they want it?
  [ ] why is their goal incompatible with protagonist's?
  [ ] are they more than just "evil"?

antagonist strength test:
  if antagonist tried harder, would they win?
  if yes, they're too weak
  antagonist should be formidable
  protagonist should earn victory

antagonist motivation test:
  can you explain why they're right (from their view)?
  if no, they're not developed enough
  villains are heroes of their own stories


supporting characters:
  [ ] what purpose does each serve?
  [ ] are any characters redundant?
  [ ] do any have the same voice?
  [ ] could any be combined?

character combination example:
  character A: best friend who gives advice
  character B: mentor who gives advice
  combination: best friend is also former mentor
  deeper relationship, fewer characters


the structure questions:

checkpoints:
  [ ] inciting incident: does it disrupt the status quo?
  [ ] plot point 1: does it launch the real story?
  [ ] midpoint: does it shift the context?
  [ ] plot point 2: does it start the final battle?
  [ ] climax: does it resolve the central conflict?
  [ ] resolution: does it show the new world?

timing test:
  inciting incident: typically by 10% of story
  plot point 1: typically by 25% of story
  midpoint: exactly 50% of story
  plot point 2: typically by 75% of story
  climax: typically by 90% of story

these are guidelines, not rules.
but significant deviation should be intentional.


the pacing questions:

tension tracking:
  map tension level for each scene (1-10)
  [ ] does tension generally increase?
  [ ] are there tension valleys?
  [ ] do valleys come after peaks (breathers)?
  [ ] is any section flat for too long?

pacing problems:
  saggy middle: scenes repeat the same conflict
  rushed ending: climax doesn't earn its weight
  slow start: too much backstory before story begins
  uneven rhythm: no variation in scene length

pacing fixes:
  saggy middle: raise stakes or cut scenes
  rushed ending: add complications
  slow start: start closer to action
  uneven: vary scene lengths intentionally


the POV questions:

POV consistency:
  [ ] is POV clear in every scene?
  [ ] are there accidental head-hops?
  [ ] is POV choice serving the story?

head-hopping example (bad):
  "jane felt sad. john noticed her sadness and felt guilty.
   mary wondered why john looked guilty. steve watched them all."

head-hopping fix:
  pick one POV per scene
  stay in one head
  let dialogue/action show others' feelings

POV selection test:
  which character has the most at stake?
  which character's perception changes?
  which character has the most to lose?
  that character gets the POV


PHASE 3: THE CUTTING PASS


why cut?

everything should earn its place.
every word, sentence, scene, chapter.
readers have limited attention.
respect their time.

signs something should go:
  [ ] you skip it when rereading
  [ ] you forgot you wrote it
  [ ] nothing changes during it
  [ ] it explains what readers already know
  [ ] you feel attached but can't explain why
  [ ] it's "worldbuilding" with no story connection

cutting targets:


target 1: throat-clearing

opening throat-clearing examples:
  - waking up and getting ready (unless the story happens there)
  - weather descriptions (unless weather is the antagonist)
  - character looking in mirror to describe themselves
  - character thinking about their backstory
  - "this all started when..."

opening throat-clearing fix:
  start where the trouble starts
  start where the change happens
  start with action that matters
  backstory can be revealed later


target 2: false starts

scene false starts:
  - character walking/driving to location before real scene
  - character greeting someone before real conversation
  - character thinking about what they're about to do
  - phone calls/doors/etc. before real interaction

false start fix:
  start scene in the middle
  "they were already fighting when i walked in"


target 3: redundancy

same information twice:
  - character thinks something
  - then says the same thing
  - narrator explains it too

redundancy fix:
  pick ONE way to convey
  trust your reader
  show, don't tell (then tell, then stop)


target 4: your darlings

what is a darling?
  a scene you love
  that doesn't serve the story
  you keep finding ways to "save it"
  but it doesn't fit

darling test:
  would a reader miss it?
  be honest.
  would the story break without it?
  if the answer is "no"
  cut it.

darling coping strategy:
  save it in a "cut scenes" file
  maybe it becomes another story
  maybe it was just practice
  either way, it's not in THIS story


cutting exercise:

the black marker method:
  1. print your story
  2. use black marker to cross out
  3. cross out everything not essential
  4. read what remains
  5. does story still work?

if yes:
  good cuts
  story is stronger
  prose is tighter

if no:
  you cut too much
  restore some essentials
  error on side of cutting


PHASE 4: SCENE-LEVEL REVISION


scene anatomy:

every scene needs:
  [ ] a goal (what does POV character want?)
  [ ] a conflict (what stops them?)
  [ ] a disaster (how do they fail?)
  [ ] a change (how is the world different?)

scene test:
  can you answer these questions for each scene?
  if you can't
  the scene needs work

scene revision checklist:

scene openings:
  [ ] does it start in the moment?
  [ ] is the POV clear immediately?
  [ ] is the goal established early?
  [ ] is the reader anchored in place/time?

weak openings:
  - "it was a dark and stormy night"
  - "jane was a tall woman with..."
  - "little did she know that..."
  - backstory summary
  - nothing happening

strong openings:
  - character doing something
  - tension already present
  - something at stake
  - change occurring


scene middles:
  [ ] is there active conflict?
  [ ] does the character try and fail?
  [ ] do tactics change?
  [ ] does tension increase?

weak middles:
  - characters talking about problems
  - characters thinking about problems
  - characters walking around
  - nothing meaningful happening

strong middles:
  - action with consequences
  - dialogue that reveals and advances
  - complications arising
  - stakes increasing


scene endings:
  [ ] does something change?
  [ ] does character have new goal?
  [ ] is there a hook to next scene?
  [ ] is there emotion to carry forward?

weak endings:
  - "and then they went to sleep"
  - "and then they went to next place"
  - scene just fading out
  - no consequence

strong endings:
  - disaster leaves character with no good options
  - revelation changes everything
  - decision that will cause trouble
  - emotion that demands resolution


PHASE 5: LINE EDITING


what is line editing?

paragraph-level and sentence-level revision.
focus on clarity, flow, and impact.
not grammar yet.
word choice, sentence rhythm, paragraph variety.


line editing targets:


target 1: weak verbs

weak verb: to be (is, are, was, were, been)
weak verb: to go (go, went, gone)
weak verb: to do (do, did, done)

weak verb examples:
  "she was angry." (tells)
  "he went to the door." (bland)
  "they did a dance." (vague)

strong verb replacements:
  "she slammed her fist on the table." (shows)
  "he stalked to the door." (specific)
  "they waltzed across the floor." (specific)

verb strengthening exercise:
  <search>
  "was [adverb]"
  "were [adverb]"
  </search>

replace with:
  specific action verb
  that shows the same thing

warning:
  don't eliminate "to be" completely
  sometimes it's the right choice
  but make it a choice, not a default


target 2: filter words

filter words: words that filter experience through description

common filter words:
  saw, heard, felt, smelled, tasted
  noticed, watched, observed
  wondered, thought, realized
  knew, believed, understood

filter word examples:
  "she saw the car approaching."
  "he heard the clock ticking."
  "i felt a sudden pain."

remove the filter:
  "the car approached."
  "the clock ticked."
  "pain shot through my arm."

why this matters:
  puts reader directly in experience
  removes distance between reader and story
  creates stronger immersion

exception:
  use filter words when:
  - the act of perception is the point
  - character is doubting their senses
  - you want to create distance


target 3: adverbs and adjectives

not all adverbs are evil.
not all adjectives are unnecessary.
but most can be cut.

adverb test:
  "she walked quickly."
  why quickly?
  is she running? then say "she ran."
  is she hurrying? then say "she hurried."
  is there a better verb?

adjective test:
  "the dark, scary night."
  what does "scary" night look like?
  show us scary, don't tell us.

specific is better than modified:
  instead of: "very large"
  use: "enormous" or "gigantic" or better, the actual size

instead of: "very angry"
  use: "furious" or show what they do

adjective/adverb pileup:
  "the incredibly loud, extremely bright,
   very sudden, truly shocking explosion"

revision:
  "the explosion shattered every window
   for three blocks"


target 4: sentence variety

sentence length variation:
  [ ] are there multiple short sentences in a row?
  [ ] are there multiple long sentences in a row?
  [ ] is there rhythm and flow?

variety creates music:
  short-short-short-long
  creates emphasis
  builds momentum

long-long-long-short
  creates contrast
  delivers punch

read aloud.
  your ear will hear the problems.
  your eyes will miss them.


target 5: paragraph breaks

paragraph purpose:
  organize information
  create visual rhythm
  control reading pace

paragraph rules:
  [ ] one topic per paragraph
  [ ] new speaker = new paragraph
  [ ] shift in time/place = new paragraph
  [ ] shift in focus = new paragraph

paragraph variety:
  vary paragraph length
  short paragraphs speed pace
  long paragraphs slow pace
  use intentionally


PHASE 6: DIALOGUE POLISH


dialogue revision questions:

purpose:
  [ ] does each line have a purpose?
  [ ] does it reveal character?
  [ ] does it advance plot?
  [ ] does it increase tension?

if a line does none of these:
  cut it

character voice:
  [ ] could you tell who speaks without tags?
  [ ] does each character sound distinct?
  [ ] do they use different vocabulary?
  [ ] do they use different sentence structures?

voice differentiation example:
  professor: precise words, complex sentences, references
  teenager: slang, fragments, contractions
  non-native speaker: formal, careful, occasional errors
  child: simple words, literal thinking

subtext:
  [ ] do characters say what they mean?
  [ ] or do they talk around the truth?
  [ ] what is NOT being said?

subtext example (no subtext):
  "i am angry at you."
  "i am sorry i made you mad."

subtext example (with subtext):
  "you're home early."
  "meeting ended early."
  "that's convenient."
  "what's that supposed to mean?"
  "nothing."

readers enjoy figuring it out.
don't spell out everything.


dialogue tag cleanup:

tag problems:
  [ ] tags other than "said" or "asked"
  [ ] adverbs in tags
  [ ] tags that tell what's obvious
  [ ] unnecessary tags

weak tags:
  "i hate you," he said angrily.
  "that's great," she exclaimed happily.
  "watch out," he warned urgently.
  "really?" she questioned curiously.

the principle:
  the dialogue should carry the emotion.
  if you need the tag, rewrite the dialogue.

revision:
  "i hate you." he threw the glass against the wall.
  "that's great." her voice was flat.
  "look out!" he grabbed her arm.
  "really?" she leaned forward.

when to use tags:
  use "said" when necessary for clarity
  use "asked" for questions when needed
  otherwise use action beats

action beats:
  "i can't do this." she backed away.
  "yes you can." he stepped closer.
  "you don't understand."
  "then explain it."

no tags needed.
speakers are clear.
action is also doing work.


PHASE 7: COPY EDITING


what is copy editing?

sentence-level technical revision.
grammar, punctuation, consistency.
clarity and correctness.
this is where the rules matter.


copy editing targets:


target 1: comma usage

common comma errors:
  [ ] comma splices (joining two sentences)
  [ ] missing commas before quotes
  [ ] missing commas in compound sentences
  [ ] unnecessary commas

comma splice:
  wrong: "she left, he stayed."
  right: "she left. he stayed."
  right: "she left, and he stayed."

dialogue commas:
  wrong: "hello" she said.
  right: "hello," she said.

compound sentence:
  wrong: "she ran and he walked."
  right: "she ran, and he walked."
  (if both are independent clauses)


target 2: pronoun reference

pronoun problems:
  [ ] unclear antecedents
  [ ] shifting pronouns within sentences
  [ ] pronoun pileups

unclear pronoun:
  "jane told mary she was wrong."

who was wrong? jane or mary?

revision:
  "jane told mary that mary was wrong."
  "you're wrong," jane told mary.


target 3: subject-verb agreement

common errors:
  [ ] collective nouns (band, team, family)
  [ ] phrases between subject and verb
  [ ] neither/nor constructions

collective noun:
  "the band is playing" (singular unit)
  "the band are fighting" (members doing something separately)

separation:
  "the box of chocolates is empty"
  not "are empty"
  (chocolates doesn't determine verb)


target 4: consistency checks

time consistency:
  [ ] does time flow logically?
  [ ] are days of week consistent?
  [ ] do distances match travel times?

character consistency:
  [ ] do eyes stay same color?
  [ ] do names stay spelled the same?
  [ ] do ages match timeline?
  [ ] do skills/abilities match backstory?

location consistency:
  [ ] do rooms stay arranged the same?
  [ ] do distances make sense?
  [ ] does geography work?

world consistency:
  [ ] do rules stay the same?
  [ ] do names match across mentions?
  [ ] do tech levels match era?

create a style sheet:
  character names with spellings
  place names with spellings
  significant details (eye color, etc.)
  world rules
  reference during revision


target 5: show don't tell (final pass)

telling examples:
  "she was beautiful."
  "he was angry."
  "it was scary."
  "they were in love."

showing revision:
  "she entered the room and conversation stopped."
  "his face flushed, fists clenched at his sides."
  "my hands shook as i reached for the doorknob."
  "he'd sell his car before he'd miss her birthday."

the tell then show technique:
  sometimes tell for clarity
  then show for impact
  then trust the reader

example:
  "she was terrified. her breath came in shallow
   gasps, and she couldn't stop shaking."

the tell ("she was terrified") creates clarity.
the show provides the experience.


PHASE 8: PROOFREADING


what is proofreading?

final polish.
catching errors.
technical correctness.
spelling, punctuation, formatting.

this is the LAST pass.
do nothing else during proofreading.
do not revise content.
only fix errors.


proofreading technique:

change the format:
  print in different font
  change font size
  read on different device
  change margins

why this works:
  your brain memorized the layout
  format changes break the pattern
  you see what's actually there


read backward:

sentence by sentence:
  read last sentence first
  then second-to-last
  work backward to beginning

why this works:
  you see each sentence in isolation
  you can't skim for story
  you focus on the words


read aloud:

slow reading:
  read every word
  enunciate clearly
  don't rush

what you'll catch:
  missing words
  repeated words
  awkward phrasing
  punctuation that doesn't match breath


proofreading checklist:

spelling:
  [ ] spell check run
  [ ] proper nouns checked
  [ ] homophones verified (their/there/they're)
  [ ] commonly confused words checked

commonly confused:
  its/it's
  your/you're
  whose/who's
  affect/effect
  lay/lie
  farther/further
  compliment/complement
  stationary/stationery
  principal/principle

punctuation:
  [ ] periods at sentence ends
  [ ] question marks on questions
  [ ] quotation marks closed
  [ ] em dashes correct (or consistent)
  [ ] apostrophes on possessives

formatting:
  [ ] paragraph breaks consistent
  [ ] dialogue formatting correct
  [ ] section breaks marked
  [ ] chapter headers consistent


PHASE 9: THE KILL YOUR DARLINGS PASS


the hardest revision.

what is a darling?

something you love
that doesn't serve the story
that you keep defending
that you're scared to cut

darling examples:
  a beautiful description
  a clever line of dialogue
  a whole character you love
  a subplot you enjoyed writing
  a scene that was fun to write
  a voice you enjoyed using

how to identify darlings:

your defense radar:
  when someone critiques a part
  and you immediately defend it
  it's probably a darling

when critique comes:
  "this scene doesn't seem to fit"
  your reaction: "but it establishes character!"

you're defending a darling.
the story might be better without it.


the darling test:

question 1:
  if i cut this, does the story break?

  if yes: not a darling (it's earning its place)
  if no: proceed to question 2

question 2:
  if i cut this, is the story actually better?

  be honest.
  does the story move faster?
  is the focus clearer?
  is the theme stronger?

question 3:
  why do i want to keep this?

  "because i like it" = darling, consider cutting
  "because it's needed" = not a darling, keep it


the darling funeral:

how to let go:

step 1: acknowledge
  "this is my darling."
  "i love it but it doesn't serve the story."

step 2: save
  copy to "cut scenes" file
  you never know when it might fit
  somewhere else

step 3: cut
  remove it from the manuscript
  don't look back

step 4: read
  read the scene around the cut
  does the story flow better?
  most times, yes

step 5: grieve
  it's okay to be sad about good writing
  that doesn't mean it belonged in THIS story
  maybe it's its own story
  maybe it was just practice


darling types and solutions:

darling character:
  character you love who doesn't drive plot

  solutions:
  - give them a real role in story
  - merge them with a character who has a role
  - cut them entirely
  - make them protagonist of their own story

darling subplot:
  story thread you enjoyed that goes nowhere

  solutions:
  - tie it to main plot
  - cut it
  - save it for sequel

darling scene:
  scene you wrote beautifully that serves no purpose

  solutions:
  - identify what purpose it COULD serve
  - rewrite to serve that purpose
  - cut it

darling voice:
  style or voice that doesn't fit rest of story

  solutions:
  - commit to that voice throughout
  - rewrite to match rest of story
  - cut the section


PHASE 10: PACING FIXES


pacing problems and solutions:


problem: slow opening

symptoms:
  readers say "it gets good after chapter 3"
  critique: "took too long to get into"

causes:
  - starting before the story starts
  - too much backstory
  - introducing too many characters
  - worldbuilding before plot

solutions:
  start closer to inciting incident
  cut first three chapters (try it)
  weave backstory in later
  reduce number of characters introduced
  trust reader to follow


problem: saggy middle

symptoms:
  - middle scenes feel repetitive
  - tension stays same
  - scenes could be reordered without impact
  - reader gets bored around 50%

causes:
  - protagonist not active enough
  - stakes not raising
  - scenes revisit same conflict
  - lack of complications

solutions:
  raise stakes: what's the worst that could happen?
  add complication: make situation worse
  cut repetitive scenes
  add midpoint twist that changes context
  give character new goal at midpoint


problem: rushed ending

symptoms:
  - climax feels unearned
  - resolution too quick
  - loose ends barely addressed
  - reader feels cheated

causes:
  - spent too much time on beginning
  - didn't plan enough space for ending
  - tired of writing by the end
  - too many threads to resolve

solutions:
  expand climax scenes
  add complications to final battle
  give more space to resolution
  cut earlier material to make room
  address each subplot properly


problem: uneven rhythm

symptoms:
  - fast-fast-fast-slow-fast
  - tension spikes randomly
  - reader exhausted then bored

solutions:
  map tension levels scene by scene
  ensure gradual increase overall
  place breathers after peaks
  don't let multiple climaxes blur together
  build to final climax, not multiple equal ones


PHASE 11: CONSISTENCY PASS


the continuity check.

timeline:
  [ ] does time flow logically?
  [ ] do days of week match?
  [ ] do seasons match events?
  [ ] do ages match story timeframe?

create timeline:
  day 1: events
  day 2: events
  day 3: events
  ...

verify distances:
  if characters travel from a to b
  how long does it take?
  does your timeline match reality?

character continuity:
  [ ] names spelled consistently?
  [ ] descriptions consistent?
  [ ] abilities consistent?
  [ ] knowledge consistent?

knowledge tracking:
  what does each character know, when?
  if character learns something in chapter 5
  they can't know it in chapter 3

world continuity:
  [ ] rules of magic/tech consistent?
  [ ] political situation consistent?
  [ ] geography consistent?
  [ ] history consistent?

create world bible:
  rules
  locations
  characters
  history
  check this during revision


PHASE 12: FINAL POLISH CHECKLIST


the final questions:

story level:
  [ ] does story fulfill its promises?
  [ ] does protagonist change?
  [ ] is ending earned?
  [ ] is theme clear without being preached?
  [ ] would reader want to read this again?

character level:
  [ ] are characters distinct?
  [ ] are motivations clear?
  [ ] is dialogue unique to each?
  [ ] do characters make decisions (not just react)?
  [ ] do readers care what happens?

scene level:
  [ ] does every scene earn its place?
  [ ] does every scene have conflict?
  [ ] does every scene change something?
  [ ] do scenes flow logically?
  [ ] is scene variety sufficient?

sentence level:
  [ ] is word choice precise?
  [ ] is sentence structure varied?
  [ ] is paragraphing purposeful?
  [ ] are filters removed?
  [ ] are weak verbs strengthened?

mechanics level:
  [ ] is spelling correct?
  [ ] is punctuation correct?
  [ ] is grammar correct?
  [ ] is formatting consistent?
  [ ] are proper nouns consistent?


the read-aloud test:

read your entire manuscript aloud.

this is the best test.
your ear catches what your eye misses.

what you'll hear:
  awkward phrasing
  repetitive words
  missing words
  wrong words
  rhythm problems
  dialogue that doesn't sound real

read slowly.
read every word.
mark problems.
fix them all.


PHASE 13: BETA READ PREPARATION


your work is done.
now you need fresh eyes.

before sending to readers:

[ ] complete all revision passes
[ ] run spell check (final)
[ ] proofread thoroughly
[ ] save final version
[ ] create backup

what to ask beta readers:

specific questions:
  - where did you get bored?
  - where did you get confused?
  - where did you stop believing?
  - what did you want more of?
  - what did you want less of?
  - who was your favorite character?
  - who did you not like?
  - did the ending satisfy?

NOT questions:
  - "did you like it?"
  (not useful)
  - "is it good?"
  (too vague)

you want specific feedback.
you want to know where to focus next revision.


receive feedback gracefully:

rule:
  listen to everything.
  take notes.
  don't defend.
  don't explain.

when feedback stings:
  remember: they're trying to help
  remember: you don't have to use everything
  remember: if one person says it, it's their opinion
  remember: if three people say it, it's a problem

after feedback:
  organize by type
  organize by frequency
  make revision plan
  repeat revision process


PHASE 14: WHEN ARE YOU DONE?

the revision trap:

can you revise forever?
yes.
should you?
no.

signs you might be done:

  [ ] beta feedback is minor
  [ ] you're making changes that undo previous changes
  [ ] you're revisiting solved problems
  [ ] you're changing things back and forth
  [ ] you're bored with your own story

the perfect is the enemy of the good:

at some point:
  declare victory
  submit/publish
  move to next project

you'll be a better writer
by the time you finish next project
you can't fix everything in one story.

every story is a stepping stone.
learn from it.
move forward.


PHASE 15: REVISION RULES (STRICT MODE)


while this skill is active, these rules are MANDATORY:

  [1] NEVER edit while drafting
      drafting is creative
      editing is analytical
      they don't mix
      finish draft first

  [2] WAIT before editing
      let draft rest
      minimum 1 week for short work
      minimum 2 weeks for novel
      fresh eyes see more

  [3] BIG picture first
      fix structure before sentences
      fix character arc before dialogue
      fix pacing before word choice
      wrong structure + perfect sentences = still broken

  [4] BACKUP before changing
      save original
      work on copies
      never lose your starting point

  [5] CUT without mercy
      if it doesn't serve the story
      cut it
      save to separate file if needed
      but remove it from the story

  [6] READ aloud
      at least once
      more is better
      your ear catches what eyes miss

  [7] TRUST beta readers
      if multiple people say the same thing
      they're right
      don't defend
      fix it

  [8] KNOW when to stop
      revision can continue forever
      at some point: declare done
      ship the work
      start the next one


FINAL REMINDERS


revision is where stories become good.

first drafts are messy.
that's okay.
that's necessary.
you can't fix a blank page.

revision is the real work.
revision is where craft meets art.
revision is the difference between
"i wrote a novel" and
"i wrote a GOOD novel."


your darlings will die.

you will cut beautiful things.
you will kill characters you love.
you will remove scenes you labored over.

this is not failure.
this is serving the story.

the story is more important
than any part of it.


the goal is the reader's experience.

every revision decision should answer:
  does this make the story better
  for the reader?

not: do i like this?
but: does it serve the story?

your ego is not your friend here.
the story is king.


revision is discipline.

it is hard work.
it is tedious work.
it is necessary work.

anyone can write a first draft.
few can revise a draft into a story.

be one of the few.


now go finish that draft.
then start the real work.
