What comes after "The End" (Part 1)

“The End.” Those were the last two words I wrote today in my current project.

My lengthy autobiographical high concept and issue driven story is ready for a full-on review.

“Revision is not going back and fussing around, but going forward into the highly complex and satisfying process of creation” —May Sarton, American poet, novelist and memoirist. 1912-1995. 

May Sarton, Poet

As I’ve gleaned through blogs, listened to writer friends, and follow my favorite writers and editors on social media, I’ve come up with what to do now. According to Ellen Brock, freelancing editor from Cincinnati, we need to look at our big picture before zeroing in on the finer details (my paraphrasing.) So, this week, I’ll share with you how I plan to spend my writing time in the next few days—in the big picture.    

Whichever way you work best—electronic or hard copy—is fine. Do a thorough Read Through, from the opening scene to those final words of “The End.” 
Pay less attention to mechanical errors of spelling, punctuation, and grammar. Focus on story. Focus on the big picture:

Character arc

Of the common types of character arcs, my autobiographical story is about change. Does my story show me moving out of difficulties, overcoming challenges, and ending with a victorious outcome?

Plot Points

The facts of my life, along with climax(es) to my story need to revolve around the character, er me. Is foreshadowing used well, to convey hints of what is to come. Are any subplots unclear? Are there any subplots which don’t climb up my character arc—if so, those can be cut.    

Scenes

Show; don’t tell. And include only if they support the plot points. Is there a hook and goal in the opening scene? Has the ending scene moved me to a point of no return from crisis’ and conflicts?   

Story Structure

Is the main character portrayed well? Are risk-taking struggles made clear? And then, do those struggles erupt into tension, forcing a resolution to be birthed?

Pacing

Character arc and story structure need to co-exist, each supporting the other. Each change in motivation needs to move the reader to the next plot point.

Be flexible in your approach and open to varying methods of correcting your prose. Perhaps most revealing will be:

·      Forward motion. If any scene or subplot is stagnated, that part needs rewritten.

·      Hints which foreshadow how the story unfolds.

·      Inconsistencies spotted to be corrected.

·      How the meaning and overall message pops, beyond the literal written words.

 

Anders Jildẻn

In a soon upcoming blog post, I’ll share about the line editing to follow. Like Ellen Brock, in her video says, “We need to start big and work our way, small.”

 -Elle-