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Rewriting question

TheFabulist

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I'm about 40-50k words into an Alternate History novel intended to cover the first half of the 20th Century. The novel is not character driven, although there are recurring characters, and the story is told through letters, newspaper reports, government documents as well as personal stories. There are four or five story separate threads which sometimes merge or interact.

My problem now is that in a couple of areas I've written myself into a corner so need a substantial rethink which may have knock on effects in other areas. The problem has arisen in part because I had only the barest plot outline when I started, (which I can now deal with since I have much better idea of where things are going) but also because I haven't managed to keep the development of the separate story threads in step as I write, and bringing them together has left me with some plotting problems. I'm really struggling with managing the rewrite because of these complexities.

I'm looking for a) tips on how to handle rewrites on this scale with a complex plot structure, without starting over from the very beginning and b) for advice on how to keep the story threads in step in the future.

I'm not sure of the policy on posting links to other sites, but some of the story so far has been posted on an alternate history site. I can post a link if that's allowed.
 
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Harlequin

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Write a synopsis, would be my suggestion :) Not the kind of synopsis you'd submit to agents, because those are very strict (1 page, 1 plotline type affair) but a full detailed synopsis purely for your own use. Blow by blow of each chapter or section, 10pt ft and single space so you can "see" your novel top-down.

It may not be possible to avoid massive rewrites, but it's a good thing to do anyway.

EDIT: Just want to add that I'm an extreme pantser, and still find developmental synopses useful. In fact, they're fairly critical to write, when you don't already have an outline to work from.
 
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rainbowsheeps

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I'm not sure of the policy on posting links to other sites, but some of the story so far has been posted on an alternate history site. I can post a link if that's allowed.

I concur about writing out an outline. It sounds like that might be your best option at this point. Given that you have multiple disparate stories that, at times, interconnect, with a few different "types" of storytelling devices, it seems ambitious and perhaps difficult to integrate all together. Outlining is often a real drag to do, but once you have a master outline you're confident in, I make it finds the actual story writing easier, as you can take it scene by scene.

Also, with regards to the quoted text, just be mindful of sharing parts of your story online, as that sometimes might indicate it's "previously published" material, which might diminish interest in representation for some agents. That may not be a big problem if it's only small pieces of the story rather than the whole book, though.
 

starrystorm

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Halfway through my current WIP, I had to stop and make a new outline. It worked, at least for me.
 

angeliz2k

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One thing I've done in the past is write down major plot points on sticky notes or slips of paper, then put them on a wall or a tabletop and arrange and rearrange them until they make sense. This makes the shifting around of things easier than, say, writing things out on a computer screen. It makes it somewhat easier to see the gaps and flow and logic. When I had multiple characters, I'd put their plot points in separate columns, so that if you read down each column you could see each character's actions.

It also might help to start with a baseline, broad outline, just a half-page: what're the major points to hit? For instance, in one of my WIPs, it would be something like, "M arrives at Hayfield, meets family; kills a Rebel; argues with C; battle begins; M realizes E is missing, goes after him; M is hurt; M is burned; C appears to nurse him; C learns who he is, what he is; arrival of R; fire; leaving for Chicago." For me, just sketching out that sort of thing helps solidify it in my mind, and I don't really need to refer back to it.
 

rgroberts

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I'm not an outliner, so if you are, feel free to disregard this. But having been in your shoes, and realizing that my disparate plot strings aren't coming together the way I wanted, I started by re-reading the entire thing. I didn't try to fix it; I just read it. Meanwhile, I made notes concerning what happened and when it happened--and when my timing was off. Those notes told me what to fix, and I got lucky; it wasn't as bad as I expected. (Though a few parts were worse). This gave me a list of minor changes and major changes that I needed to make.

I started with the major changes, figuring that they'd create more problems as I fixed them. I was right, but some of the minor changes resolved themselves as I rewrote. It turned out to be less painful than I thought, although using the Find/Replace tool in Word was probably the most crucial part. Once I thought I'd fixed everything, I searched for any term I thought might be associated with the previous version, and I found a bunch of things I'd missed.
 

Chase

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One solution which may not help in your case is to snip the problem of the plot growing in a different direct at each and every try to branch off.

If the new offshoot is something you favor, immediately backtrack to the old plot point and make changes to go along with the fresher version.

An oversimplified example:

In Chapter Two, Joanne has two sisters.

In Chapter Seven, Joanne needs a male sibling to carry on the family name, so immediately go back to Chapter Two to add a big or little brother, then check forward to Chapter Seven at every mention of siblings to see if the brother needs adding.

Handling a single plot diversion at a time works better for me than bogging myself down with anachronisms or other inconsistencies.
 

blacbird

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Halfway through my current WIP, I had to stop and make a new outline. It worked, at least for me.

The late Leonard Bishop, a successful writer of thriller fiction, says in his well-known book Dare to Be a Great Writer that the best time to make an outline is after completing the first draft. Now, I take this as meaning that the best time for him to do an outline is after the first draft, but it is a useful piece of advice. It's kind of how I work, although my outlines are little more than bullet point lists. But I start with a general concept in my head, and work with characters, scenes, events that fit that concept, even though I may not know exactly how I want to organize and structure those within the overall story context. Once I get enough of that kind of thing down, I find it much easier to do my bullet-point outline.

caw
 

DanielSTJ

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I also agree that writing a synopsis/outline for the REST of the story would help out. It'd make things more concrete and visible, per se.
 

nickj47

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I paint myself into a corner all the time. I have a brain that for some reason doesn't immediately recognize that I'm allowed to change 'facts' I established earlier, so as in Chase's example, I'd be stuck with no way to carry on the family name, and would be desperately trying to figure out a way to change the story going forward, instead of realizing that Joanne doesn't actually have two sisters, I just happened to give her two sisters early on.

So I've had to train myself to look for this whenever I get stuck, and I've usually found I can alter just a few 'facts' earlier in the story to get around the problem, without doing a major rewrite.
 

owlion

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I found it helpful to read back through the manuscript on the computer while making notes in a paper notebook on what needed to change (including the chapter/page number so I could find it easily again). I haven't used one so far, but an overall outline of what happens in each chapter might be helpful too.
 

TheFabulist

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Thanks for all the comments. I think I've tried all of them at one point or another although not systematically and I think that's the problem. If I'm honest with myself, I suspect the real reason for lack of progress is a reluctance to sit down and put the effort in, when it is so much easier to just pick up something else or even start something completely new. I have to decide, once and for all, if it's worth the effort to fix it, so the first thing to do is to read it as if for the first time. I think I'll do this as hard copy. I find the change in perspective on moving from screen to paper often helps.
 

talktidy

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I am using Scrivener for my novel. Admittedly it is not for everyone, but it does have a key feature I find particularly useful -- keywords. I can label my documents/scenes with "Joe Blogs pov" or "Joe/Jane Romance Thread" and I can then search my project for my keywords, and Scrivener will list those scenes. Useful when you want to concentrate on a narrative element.
 

TheFabulist

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I started by re-reading the entire thing. I didn't try to fix it; I just read it. Meanwhile, I made notes concerning what happened and when it happened--and when my timing was off.

I started here, because apart from anything else I realised I hadn't read it as a single piece. That has thrown up a few things, including a bit of a scrambled timeline but that's mainly due to not keeping the strands in step. I also found an issue I hadn't thought of and that is the voice of the narrator of any particular section. In the case of letters, newspaper articles, reports that's reasonably clear, but a good 25% seems to be just telling the story from outside the events. I need to fix that.

My next step is to do a synopisis with dates. Some of the sections covered 2-3 year, others a single incident. I'm breaking down the longer sections into dated lists. Once I sort that by date I can start sticking it back together again and add on a more detailed plot outline for the part still to be written. I'm also going to have to do some serious editing. Fifty thousand words so far to get from September 1910 to February 1914. The end date was supposed to be 1947!

Thanks again for the advice.
 

rgroberts

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Wow, I couldn't do this to save my life. You have amazing discipline.

I took a shortcut to keep myself from being stupid and read it on my phone and/or tablet. I hate writing/editing on either of them, so I read it on a platform I knew I wouldn't want to type on. I probably couldn't have managed not to edit if I'd been on a computer.
 

rosegold

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I like doing outlines. I can spend days working out detailed ones, but the most helpful ones are usually when I scribble random words/phrases that wouldn't make sense to anyone else.

I also like doing rereads and taking notes.
 

TheFabulist

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Thanks for all the comments. To update anyone interested, I've started by reading without editing (other than the odd missing comma or typo). I made notes as I read to identify inconsistencies, time line errors, loose ends etc . My next step is to create a consistent timeline for what's written so far and a more detailed outline of the rest of it. Then I'll reorder the separate chapter files to match the new sequence of events.

What I'm still unsure about is combining everything into a single file. My current thinking is to create a single file for each strand and put some comments or some tags into each text at intervals to cross link them. When I create a single file at the end, I'll need to interleave these together, but in the earlier stages I think it will help me in monitoring progress if I keep each strand separatel.
 
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cstoned

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Agree with a few things people have said -- I would power through the first draft, first. I am proud proponent of extensive revision, but if I get caught up too much with that stuff before I even finish the rough draft, it usually kills my momentum. Once you've got your "shitty first draft" (also a very proud proponent of Anne Lamott), you'll have most of the actual prose/compositional content you'll need. THEN you can outline it, restructure it to make sure it's making sense, and cut anything that doesn't fit -- there will probably be a lot.