So, for awhile my approach to revising stories, be they short or long, was to either literally revise in-text or to re-write from scratch. The latter was not…the best idea. To wit, I rewrote a 68k word story, to make it fit better with where the story had gone (which is now obsolete), and it ended up at 111k words, having only made it to 2/3rds of the original plot. In other words, it became even more rambling than before.
Recently I came across a suggestion that for revision one should rewrite, not from scratch, but from the already written story. Which I took to mean following its scenes and its order, rather than letting the story meander on a completely new path. (Nothing wrong with letting a revision go to new places, I think, but not letting it just be a new story.)
I’ve always had a puzzle with revision. If I rewrite completely, with only a loose thread, I’m afraid it’ll be a new (worse) story. But if I do the rewrite I read about, it becomes the struggle of not rewriting each scene word by word from what I just re-read so I can remember what’s in the each paragraph/scene.
I wish there was a step by step procedure that would let me know I’m hitting the right “marks” to let me know when I’m revising my story in the right way. Or getting my characters right. Or whatever I need to do. It’s not very clear.
So I’m in a bit of a muddle. (Also, don’t mind me, I’m just clearing my thoughts.)
What should I work on? Okay, scratch that. Should I write the final section of my long, long, long overdue demon mythology story, even if I’m not 100% sure it actually makes sense, nor do I know what’s happening? Or should I try to make it all fit together?
And see, that’s the hitch. A lot of ideas I’ve had post 2010 (Romance of Three Jewels, The Painting Story, NIAR, 12D + Bluebeard) actually have structure. Story structure. Conflict. Character arcs. Story stages. Do I know every detail? Probably not. Do I have enough to see how the plot connects and how my characters will grow and get from one story stage to the next? Oh, yes.
But I have at least three major projects that came before 2010. And it’s a pain because they’re not, well, as well structured.
So I was re-reading Histoire d’Aladdin ou la Lampe merveilleuse (as one does), and I was forcibly reminded that writers need to know what they’re writing about. If say, I write about a character baking a cake, I have to know what kind of cake they’re baking and, more importantly, I need to know how that cake would be baked. And that’s where experts and connections and all that is important. Knowing who to ask and getting input from people who know what they’re talking about. Experts.
But what I think is interesting is that I couldn’t write:
She baked a werthor from a bowl of leftover isluuma blossoms, dried up after last winter’s molt and stored by her grandmother. After all adding a dollop of yurna berry juice, with just the right thickness to keep the center stiff, she popped the feathery dough into the fire-orb, watching as it expanded into a firm round werthor.
Because it’s not based on an actually recipe or method of baking.