How to start macro-level editing?

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scheherazade

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I've been dwelling on this novel for wayyyyy too long. The plot comes to me in bits and pieces and I eventually just forced myself to churn out a plot arc through a daily word count quota during National Novel Writing Month.

Now I have, theoretically, a completed novel in front of me, but I'm still not entirely sure of the plot arc, or what happens or who is who. Some plotlines dissolve midway, some appear midway (for example, in a chase scene with characters that I still don't understand who they are and what they want). In other words, a total mess. Some sense of what it's about, but a LOT of confusion.

I don't know how to approach the rewrites. With the first draft, I essentially forced myself to write and push toward the ultimate endpoint, and figured I could work through the details in rewrites. Now that I've reach the rewrite stage I still have no idea how things will pull together, and my options seem to be either to sit back and hope it will subconsciously sort itself out (been trying that for a couple of years; still waiting) or to force myself to sit down and keep pushing out wrong, crappy stuff.

The danger is I'll start polishing the turd, line editing and making the prose sound better, when I need to be looking at a wide-angle plot level. The better the prose gets, the harder time I'll have cutting those scenes later...

Help! How do you edit the plot of a novel when you're still not sure what it's all about, or what the plot points should be? I always assumed by the time I finished I'd have a good sense of the skeleton of the story, and just have to move the bones in the right place and straighten out the meat. But I barely even know what kind of animal it is, let alone what the bones look like!
 

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I know a number of authors who push out a draft version, then go back and outline that draft,

The outline helps them see the structure, and missing plot holes.

You might try it; if it doesn't seem to work for you, no harm done.
 

jaksen

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Yikes, what a conundrum. I wouldn't know where to start...

Except to focus on who you think is the most interesting character - or the best scene you've written. Take that as your core or central idea and anything that doesn't pertain to that (or to him, her or them), start cutting out all the rest.
 

Namatu

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Following on Medievalist's advice, another thing you might want to do is write a paragraph summarizing your plot. Never mind if some plot points go nowhere. The big picture plot. What is it?

Next, use another paragraph to summarize your MC's development over the course of the book. Does the MC change/grow/get a happily ever after? What big obstacles must be overcome? Distill it into a paragraph. This is related to plot, but more personal to the character.

If there are other major characters, give them the same attention.

You need a solid sense of your characters and where they're going. These exercises might work better after you flesh out an outline, depending on whether you're an outline person.

Hope this helps.
 

CrastersBabies

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I know a number of authors who push out a draft version, then go back and outline that draft,

The outline helps them see the structure, and missing plot holes.

You might try it; if it doesn't seem to work for you, no harm done.

This is kind of the method I use. I outline first, write, meander from outline (sometimes it changes) and then I go back and outline it again based on what I have.

I also outline character arcs.

Other "macro-level" things I look at are things like white-space, voice consistency, setting, etc.. Those are things I consider "macro."

Micro, I think of grammar, spelling, word-choice and such.

Good luck!
 

Marya

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I find it helps me to do a 500 word synopsis, then take that synopsis down to 300 words. Whatever I can't describe or struggle to talk about is where my MS has plot holes or poorly motivated character.
 

Chachant

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Forget about line editing. Read through your story again. Think about it. Look for the logic gaps, the lack of growth in your characters, etc. Treat it as if you haven't read the book in five years.

Really think about it. Forget about extensive editing -- that's not what you're looking for right now. If you don't know who's who or how everything comes together, read it again. Don't even think about extensive editing yet. You'll probably replace a lot of what you have or add to it.
 

gothicangel

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Forget about line editing. Read through your story again. Think about it. Look for the logic gaps, the lack of growth in your characters, etc. Treat it as if you haven't read the book in five years.

Really think about it. Forget about extensive editing -- that's not what you're looking for right now. If you don't know who's who or how everything comes together, read it again. Don't even think about extensive editing yet. You'll probably replace a lot of what you have or add to it.

This.

For me draft 2 is always about rewriting. I don't even think about editing until draft 3.
 

Katrina S. Forest

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I could never work the way that Holly Lisle describes. I need to deal with one issue at a time in my work. Sometimes the rough draft needs a complete overhaul of the basic plot, which means most scenes are thrown out completely and almost none are left to edit. (Someone once suggested to me that my rough drafts are really just me figuring out the outline, and I agree.)

Don't get me wrong, I know some people can work like she does and turn out awesome manuscripts. I'm just not one of them.
 

Orchestra

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You might consider writing a scene-by-scene treatment to make your raw material more manageable. At first, the treatment should accurately reflect what you have written even if the whole doesn't really make sense. Just make yourself a map of the journey so far. Then, you can start moving things around, adding scenes, deleting scenes etc. Only after you feel you have a blueprint of a working novel do you move forward. Working out structural issue on a smaller scale will save you a lot of time and grief.

Treatments are most commonly used in script writing but they can be extremely valuable in all sorts of lengthy projects. You can see examples of treatments here and here.
 

BAY

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Write a query. It will reveal holes in plot. Good luck.
 

Becky Black

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I create myself what's essentially a new outline - I call it the Real Outline, as opposed to the one that came before the books and may not entirely resemble the finished draft. I do just a line or so for each scene and mark whose POV it's in (I write romance and usually like to keep the POV nicely shared between the lovers through the book.) I also mark things like especially crucial scenes where everything changes. Oh and sex scenes. :D I do all this in One Note, so I can use noteflags to make the scenes for those thing.

Once I've got every scene listed, that gives me a high level view of the plot and I can start rearranging scenes, cutting them, merging them with other scenes, splitting them up, deciding what's going to need a big rewrite, and where new scenes might need to go in. Once all that's done I'll usually choose where my chapters will be - though that can be quite fluid and will be tweaked as I work through the edits. I now have what I call the New Outline.

Once that outline is done I go back into the draft (or rather a copy!) and rearrange it into the new order, stick in some notes about what rewriting I'll be doing for a scene. I don't yet delete scenes that are going to be cut, just make a note to check them for things I want to salvage and put elsewhere, then I can cut them later, once I've stripped 'em for parts. I put in the chapter headings and then I'm ready to rumble!

After that it's a question of going through chapter by chapter, doing rewriting, line editing, making each chapter the best I can make it. I don't have to worry about having to come back to an earlier chapter and making big changes because of some issue I've found later on in the book. I should have found and solved that issue when making the New Outline, and know exactly what changes to make now. So I can bring each chapter to very near completion on this go through. There'll be more polishing passes later of course, and there's bound to be some tweaking, but no big rewrites or scenes already edited.

Works for me!
 

Layla Nahar

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I could never work the way that Holly Lisle describes. I need to deal with one issue at a time in my work. Sometimes the rough draft needs a complete overhaul of the basic plot, which means most scenes are thrown out completely and almost none are left to edit.


Interesting - I understood her to be saying cut out everything that doesn't belong first - sounds very similar to what you are doing.

I tried her idea for my story, but in the end I found that if I was going to cut 1 scene, in the end I was going to cut them ALL - so what was going on was that my story had some deeper problem. Anyway, it might sound like I'm being argumentative with you, but it from what you describe that you are doing, it sounds similar to her approach.

(I have found that I can't revise. With Holly's suggestions or anybody else's. Either the story came out right, and I only have to, say, build up an element that I failed to cover sufficiently, or the story is too problematic and the only thing to do is write another one.)
 
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