Writing a book is one thing, but turning that first draft into a polished, compelling novel is a whole other challenge. Every author has their own approach to revisions, rewrites, and fine-tuning their story.
Some writers map out every change before rewriting, while others discover the best version of their story through multiple drafts. Some swear by beta readers and critique groups, while others go through rounds of self-editing before showing anyone a single page.
How do you approach revisions?
Do you tackle big picture structure first, or do you go line by line?
Do you rely on feedback from beta readers or editors to guide the process?
What’s the hardest part of revising for you?
Let’s talk about the art of revision and share what’s worked (or not worked) in our writing journeys!
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I write scripts, but my revision/rewrite process might help authors, Ashley Renee Smith.
I rewrite as I go when I write the first draft. Rewriting as I go helps me think of ideas, scenes, etc.
I leave the first draft alone for a day, days, week, etc. after I finish writing it and rest or work on another project. After that, I rewrite the script. I break the rewrite up into categories:
- A Story
- B Story
- Subplot(s)
- Character Arc(s)
- Dialogue
- Visualize (I go through the script, visualizing the action and dialogue -- it helps me think of ideas, scenes, etc. and catch story issues)
- Track (I go through the script, tracking important things like character behavior, relationships, and items)
- And sometimes other categories
I might leave the script alone again after rewriting the script, then I get feedback on it. I skip feedback sometimes if it's a short project (short script, commercial, etc.).
I find script readers by networking. If their feedback is really helpful, I'll keep going back to them for more feedback.
I also ordered a Feature Script Read + 30 Minute Talk with an Executive here on Stage 32. The feedback helped me fix a huge issue in my script. I'm definitely thinking about ordering another one. I'm also thinking about ordering Stage 32's Script Coverage.
When I feel like the script is ready, I make the pitch material and pitch the script.
The hardest part of revising is just making sure everything works. Sometimes something doesn't work, and I keep trying and trying until I figure out how to make it work. If I can't figure it out, I come up with a replacement.
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Great topic Ashley Renee Smith . I'm a big fan of beta readers so long as (1) they reflect the target market for the book and (2) are committed to providing honest feedback. That's the challenge! But definitely, I do a couple rounds of self-editing (including reading aloud) before I show it to anyone else, which tends to address many issues. In the past I've been more line-to-line focused, but I'm becoming a fan of starting high level with novels, because if you've got a subplot or character that doesn't work, a line-by-line revision means you're going to waste a lot of time. For me, the hardest part of revising is ensuring that the spirit of the story isn't lost. It can be easy to try to take every piece of feedback and change TOO much to where you don't even recognize your work anymore.
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My revision process begins with panicked self-doubt, cursing, tears, defiant determination...
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I tend to write in flow without outlines or writer's block, and I have a knack for recognizing when something feels "off." This has led me to help other authors complete their works and overcome writer's block and self-doubt. I love proofreading, editing, and helping the story flow. For my own work, I take feedback, but I usually feel like it is done once it has left my fingertips. I write my music the same way. Inspired.
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I read it out loud. Then I go through the mental checklist of - Does this move the story forward- is there conflict or new information about the character revealed? What is each character in the scene feeling? Do the character's actions make sense?
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@Ashley I find revision/re-write easier for novel than script because of allowance of thoughts & feelings. (Magic bullets that can move story in any which way.) However with book often do 2 page split screen, one dialogue & exposition removed except plot action bare bones. (This happens then that happens for a reason.) In comparison I add or cut dialogue/exposition to tighten story/intrigue/ suspense/dread. Basic windows not any software, often facing PDF’s. Ploughing through each line typing to second document is time consuming but worth it. So many “tools” are advertised for writers but the creator of the art is ultimately its master. Mine & explore the material with an open mind & it will yield. Hearing book read aloud adds an alternate visceral layer & table reads are often surprising. Seeing it “live” even with non pro actors adds another angle.
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Maurice Vaughan, this is such a fantastic breakdown of your revision process! I love how methodical and intentional you are with each stage. It really shows how much thought and care you put into making your scripts as strong as possible.
I especially like how you separate rewrites into categories, breaking things down into the A story, B story, subplots, and character arcs is such a smart way to make sure every layer of the script is working cohesively. And visualizing the action and dialogue is such a great tip, it’s amazing how much you can catch just by mentally stepping into the scene!
Your approach to getting feedback is also spot on. Networking with trusted script readers and investing in professional feedback when needed is such a valuable part of the process. And I love hearing that the Feature Script Read + Talk with an Executive was so helpful for you!
I completely agree, the hardest part of revising is making sure everything works together. But it sounds like you’ve got a great system in place to problem-solve, replace, and refine until it all clicks.
Thanks for sharing this! I know so many writers, both screenwriters and authors will find your approach super helpful. Do you have any specific strategies that help when you’re stuck on a major story problem?
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Jonathan Jordan, I completely agree, beta readers can be incredibly valuable, but finding the right ones who truly represent the target market and will give honest, constructive feedback is definitely a challenge! I also love that you prioritize self-editing first, especially reading aloud. It’s amazing how much that helps catch awkward phrasing or unnatural dialogue.
Your shift toward starting high-level in revisions makes so much sense for novels. It’s so easy to get lost in line edits, only to realize later that a subplot or character arc needs a major overhaul, which then sends you back to rewrite sections you already polished. Tackling those big-picture elements first is such a smart approach.
And I really felt what you said about not losing the spirit of the story. It’s such a fine balance between taking in feedback and staying true to your original vision. I think that’s where it’s so important to trust your instincts, not every note will be the right fit, but the right ones will elevate the story without compromising its heart.
How do you decide which feedback to implement and which to set aside? That’s always one of the trickiest parts of the process!
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Hahahahaha, same, Bradford Richardson. Same.
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Debbie Croysdale, I love how intentional and immersive your revision process is! The idea of using a split-screen approach to strip a novel down to its bare bones structure is such a smart way to see the story’s raw mechanics before layering in dialogue and exposition. That level of big-picture clarity is so important for tightening suspense and intrigue.
I also really appreciate your perspective on writers being the true masters of their art. You're right that there are so many tools out there, but at the end of the day, it’s about engaging deeply with the material and exploring it from all angles. Reading aloud is such a game-changer for catching awkward phrasing and rhythm issues, and table reads, even with non-pro actors, can bring unexpected insights to how a story plays out in real-time.
Your approach really bridges the gap between novel and script revisions, which is so helpful! Do you find that this method helps you identify weak spots in pacing as well, or do you have a separate approach for that?
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You're welcome, Ashley Renee Smith. Thanks. It's easier for me to finish a rewrite by separating it into categories. Trying to tackle everything at once can get overwhelming.
Say I'm stuck on a scene with a major plot hole. I'll write the scene different ways until I figure out the plot hole. Or I'll take a break and figure out the plot hole while doing something else.
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@Ashley Yes, it helps with pacing as the more the foundations/structure are dissected/scrutinised any kinks in story are easier ironed out. However I may use beat sheets or story boards made with coloured post its. Pacing can also get sluggish by secondary characters who simply “orbit” the main antagonists/protagonists. “Cut outs” don’t move plot or cause action & have no motive of their own other than being glued on the page. Whereas layered characters tighten story pace adding conflict/intrigue/diversion so reader doesn’t feel stuck. Pace enters the physical realm at table reads obviously, an acid test for vivid & punchy dialogue. I’ve begun to audio tape my novels, listening as an outside observer I “feel” on a visceral level any dips in the quality of pace.
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I do a lot of revising. I have a manuscript now that's been accepted for publication but I can't resist going through one more time and I've found loads of stuff to re-write
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With the manuscript I'm co-writing, we did a round of edits ourselves via tracking changes on a 'live' document, and then gave it to 3 people - one who's extremely technical and could catch our grammar, spelling, and timeline/consistency blips, one who reads on a very emotional level, and another who was a fan of the genre we're writing in. Then, we took the notes and worked from the last chapter to the first. That's the first time I've done it that way, but it REALLY helped when it came to plot holes, moments of the plot we needed to strengthen, and point out where the biggest changes were most likely to come. That's been the biggest help!
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Dawn Prato, that sounds like such a smart and well-rounded approach to revisions! I love that you brought in three different types of readers- technical, emotional, and genre-specific, to get a broad perspective on the manuscript. That balance of mechanical precision, emotional resonance, and audience expectation must have given you such valuable insights.
Working backward from the last chapter to the first is also an intriguing strategy! It makes so much sense to catch plot holes and ensure consistency since you’re seeing everything unfold in reverse rather than getting too attached to the momentum of the story. I might have to try that on my next revision!
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Exactly! I wasn't sure about it when my writing partner suggested it but it REALLY helped us keep from getting caught up worrying about the ripple effects early changes would cause. It definitely helped clarify what we would need to keep an eye on, as well.
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Writing series bibles is one of my favorite things to work on, Walter Walker! It is also the subject of today's Stage 32 blog- https://www.stage32.com/blog/tv-series-bibles-that-every-television-writ...
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If you're writing a contemporary piece, the time you write your work until the time you publish it, or in the case of screenwriters, film it, certain information may change. It could be about anyone or anything. In Demolition Man, while Simon is going through the cryoprison inventory of killers, he is delighted to see Jeffery Dahmer, who by the time of the film's release, had been killed by fellow inmates. It was more of a joke than a plot point, but you can see how this could affect one's work. I change things according to what the world gives me and with how mankind tries to evolve or if they choose not to. Other times, I may think of a witty line to add to the dialogue, but that's pretty much it.