Revisions and how to tackle them

It finally happens. You open that envelope with a feeling of intense disappointment, expecting yet another rejection but lo and behold, it's something else. A revision letter!

Stage 1
You stare at the letter in shock, check that they sent it to the right person, stare at it some more and perhaps start to giggle a little hysterically.

Stage 2
Wild jubilation. You ring your writing friends (the only ones who understand the monumental importance of a revision letter), tell your mother, your dog and maybe even the postie whoÕs used to seeing you crumple into tears every time he hands you another envelope.

Stage 3
You're calm and ready to begin work. You start to read the letter instead of just picking out the magic word revision.

If you're super lucky, the letter requests only minor revisions e.g. Maybe the editor wants you to change the name of your hero, or asks that you add a scene to fill up a gap. In this case, you do it and all ends well.

But…in most cases that very first revision letter is likely to be a little bigger and require a lot more work. In which event…

Your heart thuds, your brain freezes and you gulp. Panic hits. The once magical two pages now appear to be an axe looming over your head. How do you do this? There's so much! Lines and lines and even more lines. You go take a bath/have a margarita/bake a cake/insert own procrastination tool here.

Stage 4
You're really ready to begin work—this is the time when the following tips may come in handy.

(I) Read the letter carefully, without letting your own beliefs about the stupendous wonderfulness of your manuscript as it is, get in the way.

(II) Make contact with your editor via email, phone or regular mail to thank them for their suggestions and to let them know that you're beginning revisions. This is basic good manners. Make it polite and short.

(III) Make three lists (mental or on paper).
i. On one list, place all the 'easy' revisions. These should include things such as: overusage of particular words (all writers have their favorites), changes of character/place names, correction of any grammatical errors pointed out, expansion of scenes already in the manuscript, etc.
ii. On the second list, note all the stuff that looks impossible at first glance, including: changes to the motivations and personalities of the characters, fundamental changes to the storyline, addition and deletion of entire scenes and any changes that relate to the underlying conflict(s), etc.
iii. On the third list, make a note of any changes you feel compromise the manuscript or don't work. This should be a fluid list that changes as you write.

(IV) Begin revisions by completing the changes in list (i). This will not only get you started, it will make you feel like you're accomplishing something (which you are).

(V) Once the changes in list (i) are complete, you should be more than ready to tackle the changes in list (ii). Now, you know you can do these revisions, because you've already managed to tick off several things in the list the editor sent you. Each writer is different so at this stage, you need to find what works for you. For the tougher changes, I prefer to do them one at a time. For example, if I had to change a character's basic personality type, I would go through the entire manuscript and implement the change, then start all over again at the top for the second big revision. You might prefer to do several of the big changes simultaneously ie. change character motivations at the same time that you're revising the plot. Choose what works best for you. This might involve some trial and error.

(VI) You now have a revised rough draft. If you can, set it aside for a few days and then come back and reread it with fresh eyes. Check things like whether any deletions have left crucial gaps in the story, whether scenes have become redundant and whether the story reads smoothly. At this stage, you have to rely to a large extent on your own knowledge of what the story should be—you may decide to add/delete things that aren't in the revision letter. Put any such changes on list (iii).

(VII) If an editor has taken the time and effort to write you a revision letter, they want you to succeed. To this end, they're not going to be mad if you ring/email them with any questions, though try and keep it short—editors are very busy people. I'd suggest contacting the editor at this stage because by now, you've almost finished the story. Therefore, your list (iii) should be fairly complete. In most cases, it shouldn't be huge—if it is, ask yourself whether you're truly revising at all or just trying to sell the same story that has already been responded to. Talk to your editor about any changes you feel uncomfortable with or are unsure about. This is your story but editors know what works in their marketplace, so this should be a dialogue. You may convince them, they might convince you, or you might reach a happy middle-ground. The important thing is to always, always, act like a professional.

(VIII) Go over your manuscript again in light of whatever your editor has said. Refine the revisions.

(IX) If you're like me, then give yourself a couple of days off then read it one more time and check for simple spelling mistakes, etc.

(X) POST IT! Yes, really, you have to let go now. It's tough but you gotta. I would suggest getting the manuscript back to the editor a month to six weeks after you receive the revision letter. This gives you enough time to do a good job but it also shows that you're reliable and can work under pressure.

(XI) Start another manuscript if you haven't already. Acceptance or rejection, you want to be able to present the editor with another story—once again, it's all about professionalism.

(XII) Wait for the phone to ring…Okay, you shouldn't really be doing this but who are we kidding?