Revision vs. Editing; Historical Fiction Project; War Poem Drafts; Reading

Many young writers confuse editing with revision. There is a distinct difference between the act of revising and the act of editing.

Editing involves some of the following actions:

• Proofreading (examining your work for mistakes)
• Correcting grammar
• Correcting syntax or making your sentences more concise and readable
• Changing general words to more specific words 
• Removing or cutting lines, unnecessary details, scenes, characters, etc.

Revision, however, is all about development and shaping of the story--or what is, essentially, art. It is:

• Developing the idea or theme of the piece
• Developing a character, setting, or plot element
• Introducing literary elements to strengthen theme, tone, setting, character, conflict, diction, etc.
• Considering the structure of the narrative
• Working on the shape of the story (openings, scenes, development of plot, character, setting, theme, middles, ends, etc.)

So think of revision as a lump of clay (your draft) that you are shaping deliberately into a vase. Editing is the polish or veneer or the "look" of the vase. 

1. When revising: 

• Consider the structure or shape of your story/poem. Does the story build? Does it include a plot? Does it have a point? Does it have the right tone? Are the characters interesting enough to compel a reader to pay attention or care?
• Tinker with literary elements. Add some literary elements and techniques to your work. Here's a list of options. 
• Shape and connect your character to its setting, theme, conflict, and plot.
• Consider a more interesting narrative style. Here's a list. You should note that POV is a choice. Make it work for you.
• Consider changing your POV: first person, 2nd person, 3rd person limited, omniscient, objective, multiple-perspective, stream of consciousness, reliable, unreliable narrator, etc.
• Consider changing your tense: present, past, future
• Rearrange scenes; play with the structure of your draft: backstory, in media res, cliffhanger, flashforward, break the fourth wall, use or do not use the unities of time, place, action, add foreshadowing, use tropes, create motifs or symbols, create a MacGuffin, add a plot twist, create hypo-diegesis, play with allegory, create an open ending, change perspective or narrative style, etc.

2. When editing:

• Consider diction & word choice; add details if needed; move toward specific nouns and strong action verbs (remove adverbs or adjectives if possible)
• Cut unnecessary words, phrases, sentences, scenes, chapters, etc. Get rid of redundancy or repetition.
• Pare down dialogue. Remove dialogue that does not reveal character, plot, setting, or theme.
• Smooth out the rough spots or unreadable passages/lines. Vary sentence structure. Long sentences slow your pace; short sentences add speed, stress or punctuate points or ideas.
• Shape your paragraphs.
• Remove what is obvious or uninteresting or distracting. 
• Correct your grammar & punctuation.

A. Spend your time doing this. Now, and when you are in the lab for the rest of your life. Honor writing time by writing. Do not be a distraction to others!

B. Take your war poem draft or your masculinity piece or a piece from your portfolio you want to develop or a piece you are planning to read at the coffeehouse and REVISE (or edit--but know which one you are doing...)

C. Workshop your pieces (now and when we're in the lab for the rest of your life). Only ask people for feedback when you have gone over your work yourself. When you're stuck, ask for help...but be specific, if you can, about what kind of help you need. Do you need EDITING help or REVISION help? Or do you just want to share so you feel validated?

Past projects to work on today (and later at some point in this marking period):

• Men, Myths, & Masculinities Draft
• War Poem Draft (see previous post/article/class)
• Coffeehouse Prep
• Historical Fiction Project

Many of you did not work on this (historical fiction) last class. Get on with it. Use the lab to brainstorm an original historical cultural setting. Your task is to create a historic setting through your research in which to set a fictional story, much in the same manner as E.M. Forster or Erich Maria Remarque* or Hemingway* or other historical fiction authors do. Keep your notes, not only for your story but also to turn in with the completed project. Use your class notes to help you brainstorm ideas.

Your setting will require you to consider key cultural aspects such as traditions, history, art or artifacts, religion, government, economics, cuisine, entertainment, language, and a whole host of other ideas.

Refer to this linked article from the Writer on tips for writing historical fiction.

If you are having trouble coming up with an idea, try an alternate history. Here's some info about it, some advice about certain challenges you might face as a writer, some ideas for stories, and how to do it:

• 1. Choose a time period that you find interesting or know something about. 
• 2. Research some key events in that year. A good place to look for the 20th century is here.
• 3. Select a country, town, village, geographical area.
• 4. Brainstorm, freewrite, doodle, etc. a list or chart of all the possible events you care to brainstorm.
• 5. Begin changing them one at a time and consider (speculate) how the change would affect the culture of you setting.
• 6. Write notes. Make decisions regarding plot, setting, character.
• 7. Imagine.
• 8. Write.
• 9. Repeat as necessary. 

If you're not writing today, please use the time in the class to read your chosen novel. If you were absent, pick a novel from the choices left. 

You can also use your time to prepare for your coffeehouse performance (next class we will practice for real--please bring a piece to practice!)

HOMEWORK: Read the novel you have chosen. Complete any drafts you haven't completed (see above). Bring your coffeehouse selection with you next class to practice in the theater.