SPEAKER_03: 0:00

Your if-only statements can be like a North Star guiding you through your revision. They can help you see where your story got off track. Maybe you lost sight of your protagonist's external goal. Or it can help you understand why your story seems to flatten out sometimes. It could be you've lost track of your internal arc of change.

SPEAKER_01: 0:22

Welcome to the Fiction Writing Made Easy Podcast. My name is Savannah Gilbo, and I'm here to help you write a story that works. I want to prove to you that writing a novel doesn't have to be overwhelming. So each week I'll bring you a brand new episode with simple, actionable, and step-by-step strategies that you can implement in your writing right away. So whether you're brand new to writing or more of a seasoned author looking to improve your craft, this podcast is for you. So pick up a pen and let's get started. In today's episode, we're tackling a question that I know so many of you are asking, and that question is, how do I even start revising this messy first draft that I just finished? Now, finishing a first draft is a massive accomplishment. Seriously, you should be so proud. But then comes that moment when you stare at the pages and you think, now what? Where do I even start? Well, to help answer that question, I've brought together five book coaches to share their best tips for editing your messy first draft. So you're gonna hear from Monica Cox, who will show you how to finally see what's actually on the page, not just what you think is there. You'll hear from Nita Collins, who will help you uncover the one core message that keeps your revisions focused. You'll hear from Elise Seal, who breaks down how to tackle revisions in manageable pieces so you don't get overwhelmed. You'll hear from Aaron Haldin, who shares a two-sentence tool that instantly clarifies what your story is really about. And you'll hear from Aisha Ali, who reveals why starting with your ending can save you months and months of work. Now, these editors and these book coaches have helped countless writers turn messy drafts into polished manuscripts. And I know their advice will help you as well. So whether you've just typed the end or if you're knee-deep in revisions already, let's dive in with our first tip from Monica Cox.

SPEAKER_00: 2:06

Hi, my name is Monica Cox and I'm a writer and a book coach. I help communications professionals honor their creative dreams, apply their skills to fiction, and finish their novels. And I love helping writers through the revision process. Over the course of my own writing and working with writers, I have found that the first step of revision is often the most overlooked, the first read-through. In order to make the most of your first read through, you need to enter a reader's mindset. So let's back up a second and take a look at the three different mindsets we encounter during the writing process. The first is the writer's mindset. This is where you turn off your inner critic and allow yourself to simply write a messy first draft. You can experiment, try new things, discover your story as you go, and just let your imagination run wild. No idea is a bad idea in a writer's mindset. Eventually you do need to invite your inner critic back to the table to employ the second mindset, the editor's mindset that will help you through revision. This allows you to identify the things that aren't working in your story and do the work of fixing them. It's this mindset that knows to hold on to your story and keep working until you're sure it's ready for outside eyes. But there is a third mindset, this reader's mindset. Writers who skip this step of the process may find themselves unfocused or overwhelmed during revision. You may jump into line edits too soon because it feels like progress, or worse, you may fixate on plot instead of the emotional layer of the protagonist's arc of change, leaving your revision incomplete and forcing another revision pass, or several. Reading your draft like your ideal readers allows you to see what is actually on the page, not what you thought you put there. You can see things like where the story is dragged down by too much backstory or where the protagonist is acting out of character. You can better identify plot holes and weak stakes, and you can also start to see your themes more clearly and appreciate all the good things you did on the page while drafting. Taking a beat to read your draft like your ideal reader allows you to then analyze how what you read matches up with the story you intended to tell as a writer. Putting those two things together, what the writer intended in the writer's mindset and what the reader experiences in the reader's mindset is what arms our editor's mindset with the right plan for revising in order to create your perfect story. So how do you do this? There are a few easy things to do to place yourself in the mindset of a reader. First, know who your ideal reader is. Understand their motivations for picking up your specific book. What do they hope to get out of it? Know what worries them and what delights them. Spend some time exploring who your reader is first and get specific. Make that person real to you. Next, take a break from your manuscript. When you finish a rough draft, your entire story world is still swimming around in your head. You need some distance from the page in order to see it clearly with fresh eyes. Take a few days at the very least, a few weeks is better, and if you can spare a month or 90 days, do it. When it's time to read through the manuscript, change the font. This is such a small step, but an important one to trick your eye from autofilling things that aren't actually on the page. Read your manuscript on a device that is not the one you created it on. Put it on an e-reader or a tablet, maybe even print it out as a hard copy. But whatever you do, do not start editing. We're reading like a reader now, so no red pens or track changes just yet. If you need to, keep a notepad with you when you read and jot down only big picture problems you see, like a lack of stakes on the page or a character making choices that aren't justified by what the reader knows so far. Don't worry about continuity errors or those line level changes. Those things will still jump out at you later during the revision process. Keep yourself in the reader's mindset of enjoying the story as long as possible. Finally, read in a place that is different from where you write. Read where you normally would read for pleasure to trick your brain into thinking this isn't a story you've written, but rather something else that's separate from you. Personally, I like to read on my porch swing or curled up on the sofa with a cozy blanket and cup of tea, like I would for any other book. Once you finish reading your draft, ask yourself questions a reader might ask themselves before writing a review. What is the story about? What did it mean to you? What did you love about the story? And what could be improved? Starting with these high-level questions will help you see the bigger picture first, allowing you to identify trends so you can make a more specific list of revision needs. This outside-in approach arms your editor's mind with the comprehensive information you need to focus your revision process, making it more efficient and effective. Now you can revise with confidence knowing you're creating the next five-star book your ideal reader will be recommending to her book club. Happy revising.

SPEAKER_01: 6:38

Monica just shared a really golden tip here, and I want to really emphasize this point about the reader's mindset because it's such an easy thing to skip. We think we know what's on the page because we wrote the draft, right? But there is often a huge gap between what we intended and what actually makes it onto the page. So I love all of Monica's practical tips: changing the font, reading from a different device, even sitting in a different location. These might seem like small things, but they really do help you see your manuscript with fresh eyes. And here's something I'll add. When you're in that reader's mindset, pay attention to where you get bored or confused. Those are the exact spots your actual readers will struggle to. So mark them. But like Monica said, don't start editing yet. Just observe and take notes. This will set you up for a much more effective revision process. All right, so thank you so much, Monica, for sharing that tip. As always, I will put the links to where you can find Monica around the internet in the show notes. Next up, we're going to hear from Nita Collins. So let's dive right into her tip.

SPEAKER_02: 7:39

Hi, I'm Nita Collins. I'm a book coach in British Columbia, Canada. And what I really enjoy doing is working with writers who are revising a finished draft or are stuck in the middle of a working draft. And I thought I would talk about the first things that you should do when you finish that messy first draft. And the reason I wanted to talk about it is because I've just finished the first draft of my own current work in progress. So that means I'm standing at exactly the same stage in the process as you are. So you'll have heard this before, but the very, very, very, very first thing that we all need to do when we finish that draft is take our hands off the keyboard and put the story away for a little bit. And it's also the hardest thing to do because we always want to just dig in there and get to work and fix all the things. But I'd like you to think about your novel like it's a hot cup of coffee. That first cup of coffee in the morning, and you're holding it in your hands, and you're breathing in the steam, and your head is just full of that wonderful coffee smell. It's so good. And it's all you can think about. And that's where you are in the story right now. Your head is full of it. And before you can revise, you have to let some space clear away. The story has to dissipate, like the steam coming off of that hot cup of coffee. But while the story is dissipating, you're not going to be doing nothing. You're going to be thinking about the first revision question that you need to ask yourself. And that is, what is my story's point? What is it that I want my reader to take away with them when they finish my book? What is it that you, the writer, want to say through the medium of this novel about the world? If you could have a bumper sticker made for your book, what would the bumper sticker say? So if you're writing romance, it's probably love conquers all. But what if you're not writing a romance? What if you're writing a science fiction? What if you're Cormac McCarthy writing The Road, which is very dark and dystopian? The bumper sticker for that novel might be love conquers all even in the face of great evil. Or what if you're writing comedy or women's fiction? The bumper sticker for Confessions of a Shopaholic by Sophie Consella might be that a person's value doesn't depend on material possessions or the approval of others, though we each have intrinsic value. And as you revise, you'll want to think that your protagonist's arc of change should walk hand in hand with that story point the same way that the main character in Confessions of a Shopaholic does, Rebecca. So your story point is your touchstone as you revise. So every time your story tries to run off into the left field, you're gonna reel it back in with that bumper sticker point. So it makes sense that it's the first thing you need to clarify for yourself. So why is this so important? It's important because a novel that resonates emotionally is one in which the reader internalizes the story point through the protagonist's arc of change. Remember, protagonist's arc of change should walk hand in hand with the story point. Same way that Rebecca in Confessions of a Shopaholic did. So now I guess you have to go read that book. Make your bumper sticker short. Your personal worth doesn't come from how much you own. So whatever that argument is that you're trying to make, whatever your story point is that you want your reader to take away with them, write it down on a sticky and put it on your wall. And that's my tip. While you're waiting for that story to dissipate in your mind, examine the point that you set out to make. Or if you didn't think about this before you started writing, think about it now. What was the underlying message that you discovered as you wrote? Your point is your touchstone that's going to keep you centered throughout your entire revision. And it's going to make it be the thing that emotionally resonates with your reader. And that's my tip. And keep writing. Can't wait to read your stuff.

SPEAKER_01: 11:40

I love Nita's coffee metaphor. Your head really is full of steam right after finishing a draft. And she's so right about needing that distance before you can revise effectively. But what I really want to highlight is this idea of the bumper sticker for your book, your story's point. And this connects beautifully to something you're going to hear Elise talk about later, which is starting with your story's theme. It's all about knowing what you're trying to say. So I love that. I really love Nita's examples too, because they are perfect. So while you're letting your manuscript cool off, I want you to really think about this. What's the one thing you want readers to take away from your book? Write that on a sticky note, put it where you can see it, and let it guide every revision decision that you make. All right, so thank you to Nita for sharing that tip. We will link to where you can find Nita around the internet in the show notes as well. Next up, you're gonna hear from Elise Seal. So let's dive right into Elise's clip.

SPEAKER_05: 12:34

Hey everyone, I'm Elise Seal, and I help fantasy, FiFi, and children's picture book writers turn their rough drafts into stories that captivate readers by providing story structure. Today I want to share a tip for editing your messy first draft and help you go from feeling overwhelmed to feeling in control of your story. So today's tip is to start by looking at the big picture of your story. So many writers skip this because it can feel overwhelming. Like there's too much to tackle at once. And instead, they go from start to finish when they're editing. But the thing is, you need to look at the big picture first. You need to see the whole story. And here's the paradox By breaking the big picture into smaller steps, you manage both the details and the vision of your story. So in practice, this means focusing on one element at a time, like plot, character arcs, or world building. Always considering how each piece serves the story as a whole and how they relate to each other. Editing the entire novel at once is impossible. But layering one part at a time makes the process manageable and even enjoyable. This approach helps transform editing into a rewarding and dare I say fun experience that brings out the best in your story. So without a clear step-by-step approach, editing can turn into an endless loop of revisions. Writers who try to fix everything at once often end up jumping from one scene to another, changing things at random, and sometimes these can create more problems. And even feeling like they're not even making any progress. This kind of scattered editing can lead to frustration, burnout, and even abandoning the story at altogether. So helping you apply this step-by-step approach. Start by picking one big picture element to focus on first. Start wherever makes sense to you. This is how I like to do it with my clients. Begin with the theme or the story's point. I had my clients write down their story's core theme. The number one most important theme. This is the message they want their readers to come away with. And then you have to ask yourself, is it coming through clearly in the draft? If not, what are we gonna do about that? Next, we move to character development. The point of your book is best expressed to character growth. So is your protagonist's journey improving your point? Next, we look at the plot. Are the external events forcing your protagonist to change? And are there meaningful challenges or choices that test your protagonists? Because there has to be an external journey as well as an internal one. So after that, I like to turn to world building. So think of it and layering the structure one piece at a time. By working through these big elements in order, you can make intentional changes without getting lost in the detail too early. When you approach editing by looking at the big picture first, the whole process feels clearer and more productive. Instead of endlessly rewriting the same scenes, you're actually moving forward, making meaningful changes each round because you see the big picture and you see where each scene should go and how the story should flutten.

SPEAKER_01: 15:49

I love how Elise breaks this down because she's absolutely right. Trying to edit everything at once is a recipe for overwhelm. And that scattered approach that she mentioned, I see that happen all the time. Writers jumping from scene to scene and making random changes that sometimes create more problems than they solve. And what really resonates with me about what Elise shared is her layered approach. So starting with theme, then character development, then plot, and then world building. It's so logical when you think about it. Your theme is your North Star and everything else should support that theme. So take Elise's advice, pick one element and focus on just that in your first pass. Trust me and trust Elise that your future self will thank you for not trying to fix everything at once. And as always, we will link to where you can find Elise around the internet in the show notes. Alright, now next up we're gonna hear from Erin Hald. So let's just dive right into Erin's clip.

SPEAKER_03: 16:44

Hello, writers. My name is Erin Halden. I'm a developmental editor and certified book coach. I'm also a writer, just like you, and I know how overwhelming it can be to be staring down a revision of a messy first draft. I've been there. I have a tip for you today that can help you begin to see the story forest for the trees. I call it your if-only statements. This is a pair of statements that gets down to the essence of your protagonist's external goal and internal need, the two key building blocks of your story. The more clarity you have on these, the stronger your story will become in revision. The first if-only statement is what I call the protagonist's if-only statement. As your story starts, your protagonist should have something they consciously want, something they're consciously longing for or working towards. This is their external goal. They're looking at their life and thinking, if only this thing would happen, then everything would be okay. If only I'd get the promotion, get the guy, get picked to go on the mission. Whatever it is, it should be tangible and ring with some urgency for your protagonist. So that's your first if-only statement. The second is what I call the writer's if-only statement. This one gets at your protagonist's internal need. Just like with the external goal, your protagonist must walk onto the first page of the story with an internal need. The difference is they aren't fully aware of this need. This is what they'll learn through the adventure of the story. But you, the writer, need to know what this internal need is right from the start. This if-only statement is you, the writer, looking at your protagonist and thinking, if only my protagonist would learn this thing, then everything really will be okay. The power of the if-only statements lies in this spotlight they shine on these two key pieces of your story. Your protagonist's external goal points you to your external plot arc. It's all the ways they're trying to achieve their goal, the decisions and choices they make, the consequences they face. So once you've zeroed in on your protagonist's if only, look at the key plot points in your story. Are they related to her trying to achieve her external goal? Is she actively working on that goal, going after it one way and then another? Or does that goal disappear from the page, muddying your through line and pulling your story off track? Your protagonist's internal need points you to your internal arc of change, the thing the protagonist needs to learn, the change they need to grow. Each external plot point should put pressure on the protagonist's internal need, pushing them toward their moment of change. So again, take a look at your key external plot points. Are they putting pressure on that internal need? Is that pressure mounting? Is it pushing your protagonist to their moment of change? Let's take a look at if only statements in action. Let's say you're working on a middle grade story about a girl named Jane who wants to get her separated parents back together before they finalize their divorce. At the start of the story, Jane's if-only statement is, if only I could get my parents back together, then everything would be okay. Her external plot arc then is all the way she tries again and again to get her parents back together. Your writer's if-only statement, as you look at Jane at the start of the story, would be, if only Jane would learn that change is a part of life and she'll still be loved, then everything really will be okay. Each external plot point, trying to get the parents back together one way and then another, puts pressure on Jane's internal need to learn that she'll survive this big change. As you build towards the climax of the story, where Jane's latest attempt fails but finally reveals to her parents how hurt and scared she is. At that moment, your internal arc of change steps in and delivers the story's resolution. Jane learns that letting go of trying to control the situation between her parents and just talking to them about how she's feeling will help her navigate this scary change with love and support instead of alone. Your if-only statements can be like a North Star guiding you through your revision. They can help you see where your story got off track. Maybe you lost sight of your protagonist's external goal. Or it can help you understand why your story seems to flatten out sometimes. It could be you've lost track of your internal arc of change. So ask yourself, how would your protagonist fill in the blank? If only blank would happen, then everything would be okay. And how would you fill in the blank? If only my protagonist would learn blank, then everything really will be okay. Once you've got these statements, keep them close by as you revise. Good luck and happy writing.

SPEAKER_01: 21:21

That if only framework that Erin shared is brilliant. And I want to emphasize why it works so well. These two statements, what your protagonist thinks they want versus what they actually need, that is the engine of your entire story. I especially love the example she gave about Jane trying to get her parents back together. Yes, the external goal is clear, but her internal need or learning that she'll be okay despite the change, that's what gives the story its emotional power. Now, here's what I'll add. Write these statements down and keep them visible while you revise. Every scene should either move your protagonist toward their external goal or challenge their internal need. If a scene doesn't do either, it might need to be heavily edited so that it does, or it might need to go on the chopping block. So thank you to Erin for sharing this because these if-only statements can really be your guiding light as you go through revisions. And as always, we will link to where you can find Erin around the internet in the show notes. All right, now next up we're going to hear from Aisha Ali. So let's dive right into Aisha's clip.

SPEAKER_04: 22:23

Everyone, my name is Aisha Ali, and I'm a book coach specializing in science fiction and fantasy. As a book coach, I really love drilling down into the heart of a story and using craft techniques to take it to the next level. And I hope the tip I have for you today will help you do the same. When Savannah asked for tips on revising your first draft, I began to think about the first time I revised my own work. The key to my revision process is the climactic scene. What is the climactic scene? The climactic scene is the question opened in the beginning of your novel. It's when your protagonist finally confronts the problem they've been wrestling with. Whatever happens, whether your protagonist achieves their goal or fails at their goal or realizes that something else is more important than their goal, the climactic scene ties together the threads of your story and is the best place to begin untangling those threads. It's essential to actually write your climactic scene. Even if you have an idea of what you want to happen, there's information you won't have until it's done, and which you will need for revisions. The first thing you'll discover in your climactic scene is which characters actually show up and who doesn't. The characters who do show up need to appear in earlier scenes. If a bit player suddenly performs an important role, they need more page time. But if a major character doesn't show up, it's helpful to ask why. For example, my protagonist's brother didn't appear in my climactic scene, even though he's been her strongest supporter throughout the novel. Exploring why this happened uncovered a fascinating subplot and also strengthened the overall story. The second thing you'll discover after writing your climactic scene is which skills your protagonist will end up using. I don't know about you, but my protagonist goes through a lot in my first draft. I throw anything and everything at them and hope that at least some of it will help. Knowing exactly which skills come into play will clear away the excess. On a similar note, the climactic scene tells you which inner barriers your protagonist needs to overcome. What's the difference between skill and inner barrier? Skills allow the protagonist to take action. Overcoming inner barriers give them the confidence to do so. As you revise, you can craft scenes to show your protagonist growth in both areas. Finally, your protagonist will change after facing the events of the story. This change reflects in the specific actions they take in your climactic scene. When I started my manuscript, I knew my protagonist has anger issues, but anger management is a huge spectrum. What does she learn? Did she learn to suppress her anger, redirect it, show compassion? Or perhaps that there's no shame in emotions? All of these have very different paths leading to them. So once I knew which to focus on, I was better able to shape her journey through the story. And you can do the same when you discover what actions your protagonist takes in the climactic scene. At this point, you might be feeling a bit of that dreaded imposter syndrome. There's so much writing on this one scene. What do you do if it's not perfect? Don't worry. Your climactic scene can and will be re-written as you go through revisions. What's important at this point is the information you gain from examining it. Who shows up and who doesn't? What skills does your protagonist use? What inner barriers do they need to overcome? And what specific actions do they take to show their change? Thank you, Savannah, for inviting me to talk about revision. And I hope you all have gained something useful from all of this.

SPEAKER_01: 25:54

I love this approach that Aisha shared, and it makes total sense when you think about it. Your climactic scene is where everything comes together, or at least it should be. And what I love about this technique is how it works backwards. So instead of revising chronologically, you're starting with your destination and making sure every road leads there. And the questions that Aisha asks are key. Who shows up? What skills does your protagonist use? What inner barriers do they overcome? And the answers to these questions tell you exactly what needs to be set up earlier in your story. Now, don't worry if your climactic scene isn't perfect yet. Like Aisha said, you can rewrite it. The point is to use it as a diagnostic tool to see what your story needs. So thank you so much for sharing that, Aisha. And for anyone who wants to connect with Aisha, we will put all of her links in the show notes. Now, here's one thing I want you to keep in mind as you walk away from today's episode. You don't need to use all five of these strategies at once. Start with the one that speaks to where you're stuck. Maybe it's getting some distance from your story like Monica suggested. Maybe it's revising in layers per Elise's tip, or maybe it's Aisha's climax first approach. No matter which one you choose to implement, the key is that you pick one and get started. Because yes, finishing your first draft is a huge accomplishment, but now it's time to shape that messy first draft into the story it's meant to be. And remember, every book you love went through the same messy revision process, just like yours will. So a big thank you to Monica, Nita, Elise, Erin, and Aisha for sharing their experience and their words of wisdom with us today. As a reminder, I will put all of their links in the show notes in case you want to go say hello or let them know that their strategy resonated with you. Alright, so that's it for this episode of the Fiction Writing Made Easy Podcast. Head over to savannagilbo.com forward slash podcast for the complete show notes, including the resources I mentioned today, as well as bonus materials to help you implement what you've learned. And if you're ready to get more personalized guidance for your specific writing stage, whether you're just starting out, stuck somewhere in the middle of a draft, drowning in revisions, or getting ready to publish, take my free 30-second quiz at savannagilbo.com forward slash quiz. You'll get a customized podcast playlist that'll meet you right where you're at and help you get to your next big milestone. Last but not least, make sure to follow this podcast in your podcast player of choice because I'll be back next week with another episode full of actionable tips, tools, and strategies to help you become a better writer. Until then, happy writing.