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Write Great Fiction
Revision & Self-Editing: Techniques for Transforming Your First Draft Into a Finished Novel
Spot and Fix Manuscript Missteps
Don't let the revision process intimidate you any longer. Discover how to successfully transform your first draft into a polished final draft readers won't be able to forget.
In Write Great Fiction: Revision & Self-Editing, James Scott Bell draws on his experience as a novelist and instructor to provide specific revision tips geared toward the first read-through, as well as targeted self-editing instruction focusing on the individual elements of a novel like plot, structure, characters, theme, voice, style, setting, and endings. You'll learn how to:
Whether you're in the process of writing a novel, have a finished draft you don't know what to do with, or have a rejected manuscript you don't know how to fix, Revision & Self-Editing gives you the guidance you need to write and revise like a pro.
Don't let the revision process intimidate you any longer. Discover how to successfully transform your first draft into a polished final draft readers won't be able to forget.
In Write Great Fiction: Revision & Self-Editing, James Scott Bell draws on his experience as a novelist and instructor to provide specific revision tips geared toward the first read-through, as well as targeted self-editing instruction focusing on the individual elements of a novel like plot, structure, characters, theme, voice, style, setting, and endings. You'll learn how to:
•Write a cleaner first draft right out of the gate using Bell's plotting principles
•Get the most out of revision and self-editing techniques by honing your skills with detailed exercises
•Systematically revise a completed draft using the ultimate revision checklist that talks you through the core story elements
Whether you're in the process of writing a novel, have a finished draft you don't know what to do with, or have a rejected manuscript you don't know how to fix, Revision & Self-Editing gives you the guidance you need to write and revise like a pro.
266 pages, Paperback
First published January 1, 2008
188 people are currently reading
2549 people want to read
About the author
James Scott Bell
127 books1,025 followersJim is a former trial lawyer who now writes and speaks full time. He is the bestselling author of Try Dying, No Legal Grounds, Presumed Guilty, Glimpses of Paradise, Breach of Promise and several other thrillers. He is a winner of the Christy Award for Excellence in Inspirational Fiction, and was a fiction columnist for Writers Digest magazine. He has written two books in the Writers' Digest series, Write Great Fiction: Plot & Structure and Revision & Self-Editing.
Jim has taught writing at Pepperdine University and numerous writers conferences. He attended the University of California, Santa Barbara where he studied writing with Raymond Carver.
Series:
* Shannon Saga (with Tracie Peterson)
* The Trials of Kit Shannon
* Ty Buchanan
Jim has taught writing at Pepperdine University and numerous writers conferences. He attended the University of California, Santa Barbara where he studied writing with Raymond Carver.
Series:
* Shannon Saga (with Tracie Peterson)
* The Trials of Kit Shannon
* Ty Buchanan
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Displaying 1 - 30 of 202 reviews
December 7, 2012
Imagine after a bit of soul searching you came to the conclusion that you were in a co dependent relationship and you needed information as to how to improve yourself. You want to make the relationship work, so you get a book called, "Reality & Self Respect: Techniques for Transforming Your Relationship into a Healthy One." As you're reading it you realize the quality and research is amazing. About 1/4 into the book though, the author starts talking about narcissism and how it affects those in relationships.
By the time you finished reading it, you realized the book was 80% narcissism and 20% co dependency. Yeah, you learned a few things, but you bought this nonfiction book with a purpose and it didn't deliver. Though it may have been well written and thoroughly researched, this book failed you. You know a lot about narcissists now, but you're still co-dependent.
And so that is my problem with Revision & Self Editing: Techniques for Transforming Your First Draft into a Finished Novel. The title gives the assumption that it's going to be 85-90% about revision and editing, but instead I found it that a large chunk of the book dealt with the process of writing. I don't think her information was faulty or something I couldn't use, but if I needed a book called "How to Write a Novel: With a Little Bit of Revision," this book would have been perfect for me.
You see as unfair as this is, some nonfiction books should be rated based upon whether they delivered the information they promised. I was promised editing and revising skills, but instead I was given a lot of good information over the initial writing process and the drafting of a novel. While great, it didn't give me what I wanted. And what I wanted was various strategies over revision and editing I could have incorporated into my writing.
If you want a book about the writing process with a little bit of revision thrown in, this is for you. If you're looking for a book with techniques about the editing and writing process move along. This book isn't it.
By the time you finished reading it, you realized the book was 80% narcissism and 20% co dependency. Yeah, you learned a few things, but you bought this nonfiction book with a purpose and it didn't deliver. Though it may have been well written and thoroughly researched, this book failed you. You know a lot about narcissists now, but you're still co-dependent.
And so that is my problem with Revision & Self Editing: Techniques for Transforming Your First Draft into a Finished Novel. The title gives the assumption that it's going to be 85-90% about revision and editing, but instead I found it that a large chunk of the book dealt with the process of writing. I don't think her information was faulty or something I couldn't use, but if I needed a book called "How to Write a Novel: With a Little Bit of Revision," this book would have been perfect for me.
You see as unfair as this is, some nonfiction books should be rated based upon whether they delivered the information they promised. I was promised editing and revising skills, but instead I was given a lot of good information over the initial writing process and the drafting of a novel. While great, it didn't give me what I wanted. And what I wanted was various strategies over revision and editing I could have incorporated into my writing.
If you want a book about the writing process with a little bit of revision thrown in, this is for you. If you're looking for a book with techniques about the editing and writing process move along. This book isn't it.
April 14, 2011
Full of great advice - as Bell's stuff always is - but most of it is on the basics of the craft, rather than editing. Only the last few chapters focus on the subject of the title.
March 29, 2024
3.5 stars
I think this is one of the craft books I read part of but never finished in high school--most of the first section, probably, and I think it helped me then and has subconsciously guided me since. And I do, overall, actually recommend this one. You could (maybe should) read the first section before drafting. It covers a lot of basics and tips for everything from plot to dialogue, but if thinking about those things will paralyze your drafting, draft first. The second part is much shorter, and basically an easy-to-reference checklist of questions to ask yourself and things to look for as you edit, that call back to the concepts expounded in the first section. A lot of this info is really good and helpful. I'll (hopefully) remember to use the sort of checklists for my own revisions going forward.
Reasons I didn't totally love this book:
-Bell writes and primarily reads and watches thrillers, and this is very obvious in his approach to tension and conflict and in the majority of the example excerpts and book or movie summary examples he uses. I think everything applies to other genres, but it may be harder to figure out how in a genre that is much less tense in so literal a sense as thrillers, like romance.
-Overall Bell is fairly balanced and decent at admitting there are various ways to do things, but he does still at points fall into the trap of most craft books: he thinks 1) because something works for him it's likely to work for others and 2) he sometimes makes some statements that lean absolutist or prescriptive. I think he also has a somewhat narrow view on dialogue, seeming to want it *always* to be very short and snappy.
-IDK, it's probably a me problem, but I always find homework in books like this ridiculous and just skip them.
-I have difficulty believing anyone does all of the journaling and exercises and thought experiments and brainstorming and trying different things and this deep of revisions on every single little thing on every single book. How would they ever write even a book a year with as many experiments as Bell claims he does?
-This book was published in 2008 and is slightly outdated already. For example, early in the book Bell implies that very few people actually read self-published books and only do so occasionally...but he probably wasn't wrong in 2008. Bell says to never use second person POV. While personally I agree, second person has started to crop up more often even in trad books. Some of his language is a little dated. Other tips might be slightly dated, but overall, very good and helpful concepts that I'll be working to apply better myself.
-Trigger warning: Bell talks about two, maybe three times, as an example of building tension and action scenes a scene from a Koontz book that depicts an attempted rape. He also talks about thrillers that include plot points like stalkers, abusive husbands, murderers, etc. This is usually fairly cursory in details, but it is there.
I think this is one of the craft books I read part of but never finished in high school--most of the first section, probably, and I think it helped me then and has subconsciously guided me since. And I do, overall, actually recommend this one. You could (maybe should) read the first section before drafting. It covers a lot of basics and tips for everything from plot to dialogue, but if thinking about those things will paralyze your drafting, draft first. The second part is much shorter, and basically an easy-to-reference checklist of questions to ask yourself and things to look for as you edit, that call back to the concepts expounded in the first section. A lot of this info is really good and helpful. I'll (hopefully) remember to use the sort of checklists for my own revisions going forward.
Reasons I didn't totally love this book:
-Bell writes and primarily reads and watches thrillers, and this is very obvious in his approach to tension and conflict and in the majority of the example excerpts and book or movie summary examples he uses. I think everything applies to other genres, but it may be harder to figure out how in a genre that is much less tense in so literal a sense as thrillers, like romance.
-Overall Bell is fairly balanced and decent at admitting there are various ways to do things, but he does still at points fall into the trap of most craft books: he thinks 1) because something works for him it's likely to work for others and 2) he sometimes makes some statements that lean absolutist or prescriptive. I think he also has a somewhat narrow view on dialogue, seeming to want it *always* to be very short and snappy.
-IDK, it's probably a me problem, but I always find homework in books like this ridiculous and just skip them.
-I have difficulty believing anyone does all of the journaling and exercises and thought experiments and brainstorming and trying different things and this deep of revisions on every single little thing on every single book. How would they ever write even a book a year with as many experiments as Bell claims he does?
-This book was published in 2008 and is slightly outdated already. For example, early in the book Bell implies that very few people actually read self-published books and only do so occasionally...but he probably wasn't wrong in 2008. Bell says to never use second person POV. While personally I agree, second person has started to crop up more often even in trad books. Some of his language is a little dated. Other tips might be slightly dated, but overall, very good and helpful concepts that I'll be working to apply better myself.
-Trigger warning: Bell talks about two, maybe three times, as an example of building tension and action scenes a scene from a Koontz book that depicts an attempted rape. He also talks about thrillers that include plot points like stalkers, abusive husbands, murderers, etc. This is usually fairly cursory in details, but it is there.
November 22, 2010
Since Mr. Bell’s earlier writing book, Plot and Structure, is one of my all-time favorites, and since I’m currently in the midst of a huge revision of a stalled novel, I was eager to get my hands on this book. I didn’t feel the contents and its title really did each other justice.
Much of the advice is about creating the right amount of conflict to keep a story plugging along. There are useful chapters on crafting a solid beginning, middle and end. Avoiding dry exposition is explained. And there’s an interesting chapter on letting your subconscious chew on your story problems.
The reason this book didn’t seem to fit the title was that most of these considerations are things that really need to be present early in the writing process rather than in the revision process. Can you tweak tension between characters to make it more effective during revision? Sure. But it’s kinda hard to add a whole conflict that wasn’t there to begin with. Planning Your Novel seems like a more apt title.
I always thought Plot and Structure was badly titled, too. It made a lively and engaging book about the craft of writing sound dry.
Something I read in Revision and Self-Editing last night really stuck with me is that many writers are “putter inners” who write bare bones stuff and need to fill it out during revision, while others are “taker outers” who write down anything and everything and later need to prune it back to streamline and polish the story. I’m not sure exactly why I found it so heartening, but as I was axing the words today, I just thought, “I’m a taker outer,” and didn’t stress out over words I was deleting.
Five stars for the content even though the title was not exactly a great match for it. I’d rather read a good book with a bad title than vice versa. Highly recommended for writers of all sorts, but especially novelists, who need to whip big, cumbersome manuscripts into shape. But read this before you start writing your next sprawly piece, not after.
Much of the advice is about creating the right amount of conflict to keep a story plugging along. There are useful chapters on crafting a solid beginning, middle and end. Avoiding dry exposition is explained. And there’s an interesting chapter on letting your subconscious chew on your story problems.
The reason this book didn’t seem to fit the title was that most of these considerations are things that really need to be present early in the writing process rather than in the revision process. Can you tweak tension between characters to make it more effective during revision? Sure. But it’s kinda hard to add a whole conflict that wasn’t there to begin with. Planning Your Novel seems like a more apt title.
I always thought Plot and Structure was badly titled, too. It made a lively and engaging book about the craft of writing sound dry.
Something I read in Revision and Self-Editing last night really stuck with me is that many writers are “putter inners” who write bare bones stuff and need to fill it out during revision, while others are “taker outers” who write down anything and everything and later need to prune it back to streamline and polish the story. I’m not sure exactly why I found it so heartening, but as I was axing the words today, I just thought, “I’m a taker outer,” and didn’t stress out over words I was deleting.
Five stars for the content even though the title was not exactly a great match for it. I’d rather read a good book with a bad title than vice versa. Highly recommended for writers of all sorts, but especially novelists, who need to whip big, cumbersome manuscripts into shape. But read this before you start writing your next sprawly piece, not after.
April 1, 2015
Existem muitos livros com dicas e técnicas para escritores em inglês, mas poucos tão divertidos de se ler quanto o Revision and Self-Editing, do escritor e professor James Scott Bell. Esse é um dos livros mais famosos entre os guias para escritores, principalmente por causa do seu foco em técnicas para revisão e edição de textos ficcionais. Revision and Self é principalmente indicando o que se deve fazer depois que se escreve a Primeira Versão de um livro (a técnica americana de escrever um livro ou conto direto, do início ao fim, sem editar nada para depois reescrever na segunda, terceira, quarta, versões ou mais).
O livro foca em transformar a Primeira Versão na Versão Final de um romance. Ou nas palavras do próprio James Bell é um livro onde “iniciantes podem aprender os elementos essenciais da escrita, e escritores experientes pordem aprender dicas que realmente funcionam e uma abordagem mais sistemática com a revisão que vai melhorar seus livros ainda mais.” E realmente esse é um daqueles livros essenciais para escritores, eu mesmo li duas vezes antes de fazer essa resenha.
O livro é dividido em três partes. Na primeira parte ele aborda a Auto-Edição,o modo como o próprio escritor pode avaliar e melhorar sua narrativa. Essa parte descreve todos os elementos essenciais de um romance como Ponto de Vista, Mostrar vs. Contar, dicas para o melhorar o início, o meio e o fim das narrativas, etc.. Essa parte é mais um resumo desses elementos, que são abordados mais profundamente em outros livros. Entretanto, para cada elemento James Bell acrescenta observações e exercícios práticos muito interessantes. Gostei muito da parte sobre diálogos, li várias vezes as dicas de como deixar os diálogos mais realistas com técnicas como subtexto, conflito, quebra da linearidade na conversação, etc. e devo fazer um NitroDicas sobre isso no futuro.
A segunda parte ensina como lidar com a Primeira Versão de um livro, focando em técnicas de revisão e reescrita, estabelecimento de metas de revisão, técnicas de sumários da primeira versão como base das próximas versões, o que abordar primeiro e o que abordar depois na edição de um livro, etc. Tem muita coisa útil tanto para escritores iniciantes quanto experientes.
A terceira parte trata do polimento final do livro, e conta com uma lista imensa de perguntas que fazem o escritor revisar e melhorar a sua narrativa. Só por essa parte já vale a pena comprar o Revision and Self-Editing do James Bell.
Fica a recomendação!
ANOTAÇÕES DO LIVRO
Durante a releitura do Revision and Self-Editing, fiz algumas anotações de elementos importantes. As anotações seguem abaixo, e quem sabe, um dia eu organizo tudo em artigos bonitinhos e limpinhos. Mas como todo meu tempo livro está sendo consumido pela reescrita e edição da segunda versão do Marca da Caveira, fica aqui as anotações de maneira tosca mesmo. Espero que gostem dessas dicas valiosas do James Bell! :)
DICAS PARA ESCRITORES DO REVISION AND SELF-EDITING:
* Separe o Criador do Editor. Escreva livremente, jogue tudo no papel, sem censura. Crie livremente sem que o Editor o atrapalhe. Em um outro momento Edite usando todos os seus conhecimentos da arte da escrita. Com o tempo o Criador vai internalizar muita coisa e as primeiras versões ficarão cada vez melhores.
* Ler livros, anotar, perceber a estrutura da trama, a caracterização, as descrições, praticar o que se aprendeu.
* Nunca parar de buscar conhecimentos para melhorar a sua escrita.
* Desenvolver um “senso de história”, deixar o leitor intrigado com o que pode acontecer. Escrever sobre dificuldades morais, espirituais, físicas, e como encontra uma saída dessas dificuldades. Transportar o leitor para outro lugar e espaço. Colocar um pouco de magia na prosa, um pouco de toque poético, palavras e frases que cantam.
* Mantenha-se escrevendo. Não espere por inspiração. O Trabalho gera inspiração. Continue escrevendo.
* Auto-edição é a habilidade de saber o que faz uma narrativa funcionar, para quando você estiver escrevendo a Primeira Versão, você já vai estar criando algo que irá prender o leitor.
* A Fórmula de uma grande narrativa:
CONCEITO + PERSONAGENS X CONFLITO = NARRATIVA
* Conceito – Pode ser de grande escopo “e se uma equipe de mineradores espaciais encontrasse um ovo de um monstro alienígena” ou de pequeno escopo “um pai de família tem que cuidar de seu filho depois que sua esposa o abandonou”.
* Personagens – São essenciais para a ficção, sem personagens sem história.
* Conflito – É o “sangue” da ficção, a pulsação da narrativa. Sem conflito uma narrativa não respira. Como disse Alfred Hitchcock “Uma história é como a vida, sem as partes entediantes”. Sem conflito = Chato pra caralho!
* Entreviste seus personagens, crie diários dos seus personagens, escreva eles em cenas diferentes, cenas do seu passado.
* Conheça bem seus personagens, quanto mais você saber dos seus personagens mais vivos eles ficam, quebrando os clichês.
* Narre os pensamentos do seu personagem para envolve mais o leitor, mas cuidado com excessos. Os momentos mais apropriados para escrever os pensamentos de um personagem são:
- Momentos de intensidade emocional.
- Momentos de virada na trama.
- Momentos em que o personagem tem que analisar uma situação.
- Desafios que o personagem precisa refletir consigo mesmo.
- Dilemas internos antes de tomar uma decisão.
- Impressões pessoais ao encontrar com outr personagem ou chegar em um novo local.
- Cenas onde o personagem está sozinho e reagindo a ações que aconteceram.
* Técnica do Hemighway de mostrar pensamentos:
Mostre por fora, por meio de ações, movimentos corporais, subtextos da fala, expressões faciais, torna a prosa mais forte para o leitor.
* Comprima os pesamentos dos personagens o máximo possível. Uma técnica: escreva os pensamentos de um personagem em uma cena direto, escreva tudo que ele esteja pensando. Depois, ao editar, vá cortando tudo que não for essencial. O que for essencial fica mais forte e passa toda a carga emocional do que foi cortado (e mostra um escritor experiente).
* Veja em que momentos da narrativa a linguagem muda, mostrando uma intromissão do autor. Cheque por descrições, pensamentos, reminiscências que saiam do ponto de vista narrativo, quebrando a ilusão de se estar experimentando a história pelos olhos do protagonista.
* Analise grandes vilões da literatura, como Hannibal Lecter por exemplo. O que o tornou tão carismático?
* Protagonistas precisam ser ATIVOS, precisam agir, ter planos, fazer algo, serem PROTAGONISTAS de sua história.
* Dê tanta atenção para a Oposição ao protagonista quanto aos seus Aliados.
* Todos os personagens de uma narrativa precisam servir a um propósito dentro da narrativa.
LISTAS DE PERGUNTAS PARA SE FAZER AO COMEÇAR A REVISÃO-EDIÇÃO-REESCRITA DA PRIMEIRA VERSÃO
Perguntas para o Protagonista(s):
* Vale a pena seguir a narrativa do meu protagonista pela narrativa inteira do livro? Porquê?
* Como eu faço para o meu protagonista “saltar das páginas”, impactar mais o leitor?
* Existe contraste entre os personagens da narrativa? Existem personagens redundantes, muito parecidos, e que poderiam ser mesclados em um único personagem?
* Os meus leitores irão se simpatizar com o meu protagonista porque:
_ Ele cuida de alguém além de si mesmo?
_ É engraçado?
_ É irreverente ou um rebelde sem causa?
_ É competente em algo?
_ É um rebelde lutando contra dificuldades enormes sem desistir?
_ Tem um sonho ou um desejo que os leitores podem se identificar?
_ Sofre de injustiça mas não reclama disso?
_ Está em sério perigo ou desvantagem?
_ Passa por vários estágios emocionais na narrativa?
_ Passa por mudanças significativas internamente por causa da narrativa?
Perguntas sobre os Personagens de Oposição:
*Ele é tão bem construído quanto o Protagonista?
*Seu comportamento é justificado, em sua mente?
*Você como autor está sendo justo com a oposição ao protagonista? Está forçando a narrativa para um dos lados do conflito?
*A oposição é mais forte do que o protagonista em sua habilidade de vencer o conflito? Se não for, como torná-la mais forte ainda?
*Você conhece bem a oposição/os vilões? Como foi a vida deles até o momento da narrativa? O que eles quere, gostam, desgostam, sonham, etc?
Perguntas a se fazer sobre o vilão da história:
- Ele é um personagem complexo, com vida interior, com desejos, motivações, fraquezas, dúvidas, etc?
- Como ele justifica para si mesmo as suas ações?
- Em que ele é bom? Como isso ajuda a ele conseguir o que quer?
- Que qualidades admiráveis ele possui?
- O que os outros personagens pensam dele?
- O que pode fazer com que pessoas se sintam atraídas por ele ou pelo menos fascinadas por ele?
Perguntas sobre os personagens menores (três tipos, que ajudam, que dificultam e os híbridos, que ajudam uma hora e dificultam em outra):
*Qual é o seu propósito na história?
*Quais marcadores audio-visuais eu posso colocar nesses persoangens, para distingui-los facilmente na narrativa?
*Como eu estou evitando os clichês? (Por isso é importante ler muito, para conhecer os clichês e saber como trabalhar com eles, evitando ou desconstruindo).
*Que possibilidades na trama, uma virada, uma revelação do meu protagonista, etc. esse personagem oferece?
*Como esse personagem pode atrapalhar, irritar ou ajudar o meu protagonista?
Perguntas sobre a Trama
* Existe algum ponto da narrativa que tire o interesse do leitor? Que está chato, lento, entediante?
* A narrativa parece que é sobre pessoas fazendo coisas sem nenhuma motivação interna? Automaticamente? Ou as ações são contextualizadas pela motivação dos personagens?
* A história está desequilibrada? Muita ação? Muita reação? Muitos monólogos interiores? Muito diálogo? Como posso equilibrar mais esses elementos?
Perguntas para a Abertura da Narrativa (a Primeira Cena):
* Eu começo a história com a narrativa em marcha? Ou estou gastando muito tempo “aquecendo os motores”? Como começar a narrativa agarrando o leitor logo de cara?
* Que cenário estou querendo apresentar? Que tipo de clima quero evocar na narrativa? Qual é o tom que a minha narrativa deve ter? Tom de comédia, tom romântico, tom sombrio, tom realista, etc? As descrições estão de acordo com esse tom?
* O que acontece no Ato 1 vai levar o meu leitor a continuar lendo? Qual é o perigo para o protagonista?
* Quem está em oposição ao protagonista? Ele é tão forte, ou melhor, mais forte do que o protagonista? Como eu mostro isso?
* Existe conflito suficiente a primeira cena e no primeiro ato para manter a narrativa por todo o livro?
* Coloquei muita exposição (descrição do cenário ou do que aconteceu antes da narrativa) ou pouca exposição? Como posso reduzir a exposição para o essencial e assim não entediar o leitor? Como posso colocar a exposição em diálogos, ou melhor, em discussões? Como posso espalhar a exposição ao longo da narrativa?
*O que pode piorar mais ainda a situação do meu protagonista?
*O que é familiar no meu conceito? Já foi feito antes? Como eu posso torná-lo mais original? Como posso abordar de uma maneira diferente?
*E se eu mudar totalmente o cenário?
*Que característica do meu protagonista que o atrapalha? Como posso tornar essa característica mais perigosa para o protagonista?
*Como posso jogar os personagens uns contra os outros?
*Como eu posso fazer com que personagens que se amam acabem se odiando? Ou serem forçados a ficarem em lados opostos?
*Se o meu livro virasse um trailer de filme, como seria esse trailer? O que eu gostaria de ver em um filme baseado no meu livro? O que teria que aparecer em um filme baseado no meu livro? (isso ajuda a chegar ao essencial da sua narrativa, e cortar os excessos!).
Perguntas para o Meio da Narrativa:
* Estou aprofundando os relacionamentos dos personagens?
* Porque o leitor deveria se importar com o que está acontecendo?
* Como eu justifiquei o conflito final ou a escolha final que irá fechar a trama?
* Existe uma sensação de perigo ou de tensão (física, profissional, amorosa, psicológica, financeira, etc.) que percorre a narrativa?
* O que está mantendo os personagens juntos? Porque os personagens não se separam, cada um para o seu lado?
* As minhas cenas contém conflito e tensão? Que cenas estão fracas? Como posso cortá-las ou reescreve-las para terem mais conflito e tensão?
* As cenas estão desenvolvendo personagens e avançando a trama?
* Minhas tramas paralelas estão fortes o suficiente para continuarem na narrativa?
* O Ponto de Vista narrativo está consistente?
* Se tenho uma cena de AÇÃO (onde o protagonista age na narrativa), o objetivo está claro?
* Se tenho uma cena de REAÇÃO (onde o protagonista reage aos acontecimentos), a emoção está clara?
Perguntas sobre Descrições:
* O cenário está vivo para o leitor?
* Você descreveu o cenário junto com as ações dos personagens? Você evitou descrições estáticas que tornam a leitura mais lenta?
* As descrições estão contribuindo para revelar o tema da narrativa? Para revelar a personalidade do personagen que tem o ponto de vista?
* As descrições de pessoas e lugares estão muito genéricas?
* As descrições estão contribuindo para o clima e o tom da narrativa?
* Existem clichês nas descrições?
Perguntas sobre os diálogos:
* O diálogo está simplista, direto, com uma única interpretação? Você pode torcer mais os diálogos, responder uma pergunta com outra pergunta, deixar mais oblíquio e revelar emoções, desejos, etc. por eles?
* Seus personagens mentem através de seus diálogos?
* O diálogo usa atribuições simples como “disse” ou é um festival de atribuições diferentes que tiram a ilusão do diálogo como “retrucou”, “explicou”, “declarou”, etc.?
* Pode-se trocar o “disse” por verbos de ação? (Exemplo: Ele jogou o travesseiro na cara dela.
_ Fique com isso! Fique com tudo!)
* Pode-se tirar o “disse” ou as outras atribuições e o diálogo continuar compreensível.
* Você reconhece os personagens apenas por suas falas? Como eles diferem em suas falas? Usam sintaxes diferentes? Gírias? Palavras que se repetem? Que elementos nas falas servem para identificar seus personagens?
* Os diálogos criam tensão? Mesmo entre alidados? Causam surpresas no leitor?
* Os personagens estão usando os diálogos como armas? Como deixar os diálogos mais conflituosos, como lutas?
* Como você pode comprimir seus diálogos apenas para o essencial? Quantas palavras e frases você pode cortar do seu diálogo e ainda assim manter o seu objetivo dentro da narrativa?
* Leia os diálogos em voz alta. Estão naturais? Soam naturais?
* Orquestre diálogos entre vários personagens marcando claramente cada um dos participantes. Trabalhe as frases para que cada participante seja identificado pelo que ele fala?
* Imagine o tom de voz, a emoção, a cadência, o modo como cada personagem fala.
Perguntas sobre o Tema:
* Eu sei qual é o tema da minha narrativa? Sobre o que é a minha narrativa, em sua essência?
* Surgiram outros temas ao longo da história? Quais são eles?
* Eu coloquei os elementos temáticos naturalmente na narrativa?
* Eu evitei dar uma “palestra” sobre o tema para os leitores, em detrimento da narrativa? O tema está mais sutil ou “na cara” do leitor?
DICAS PARA O POLIMENTO DO LIVRO – AS REVISÕES FINAIS
O Polimento do Livro
1) Leia todas as aberturas de capítulo do seu manuscrito, e se pergunte:
_ Posso abrir um pouco mais tarde esse capítulo?
_ A abertura é interessante? Tem conflito ou ação?
_ A abertura identifica claramente de quem é o Ponto de Vista narrativo do capítulo?
_ Se você abriu com uma descrição, ela está avançando a trama e desenvolvendo personagem? Se não, posso abrir o capítulo de outra forma? Com uma fala ou ação do Personagem Ponto de Vista do capítulo?
_ Os meus capítulos abrem da mesma forma? Como posso variar a abertura?
2) Leia todos os Finais de Capítulos.
_ Posso terminar um pouco antes e aumentar o suspense do que vai acontecer? Um, dois ou mais parágrafos antes?
_ Eles tem ganchos que fazem o leitor querer ler mais?
3) Diálogos:
_ Posso deixá-los mais sintéticos?
_ Como estão as atribuições?
_ Posso deixar os diálogos mais inteligentes, menos diretos, menos óbvios?
4) Procura de Palavras
_ Procure por palavras que se repetem no texto inteiro, veja se dá para colocar sinônimos ou alterar as frases. Procure por repetição de frases, de termos.
_ Arranque todos os advérbios que forem possíveis.
5) Releia e revise as CENAS IMPORTANTES se perguntando:
_ Posso melhorar essa cena? Posso deixar ela mais interessante ainda? Posso aumentar a tensão? Aumentar o drama? Aumentar o suspense?
__________
E o segredo dos segredos: Leia, Leia, Escreva, Escreva, Reescreva, Reescreva e volte a Ler, Ler, repetindo infinitamente que você vai evoluir sempre como escritor! :)
O livro foca em transformar a Primeira Versão na Versão Final de um romance. Ou nas palavras do próprio James Bell é um livro onde “iniciantes podem aprender os elementos essenciais da escrita, e escritores experientes pordem aprender dicas que realmente funcionam e uma abordagem mais sistemática com a revisão que vai melhorar seus livros ainda mais.” E realmente esse é um daqueles livros essenciais para escritores, eu mesmo li duas vezes antes de fazer essa resenha.
O livro é dividido em três partes. Na primeira parte ele aborda a Auto-Edição,o modo como o próprio escritor pode avaliar e melhorar sua narrativa. Essa parte descreve todos os elementos essenciais de um romance como Ponto de Vista, Mostrar vs. Contar, dicas para o melhorar o início, o meio e o fim das narrativas, etc.. Essa parte é mais um resumo desses elementos, que são abordados mais profundamente em outros livros. Entretanto, para cada elemento James Bell acrescenta observações e exercícios práticos muito interessantes. Gostei muito da parte sobre diálogos, li várias vezes as dicas de como deixar os diálogos mais realistas com técnicas como subtexto, conflito, quebra da linearidade na conversação, etc. e devo fazer um NitroDicas sobre isso no futuro.
A segunda parte ensina como lidar com a Primeira Versão de um livro, focando em técnicas de revisão e reescrita, estabelecimento de metas de revisão, técnicas de sumários da primeira versão como base das próximas versões, o que abordar primeiro e o que abordar depois na edição de um livro, etc. Tem muita coisa útil tanto para escritores iniciantes quanto experientes.
A terceira parte trata do polimento final do livro, e conta com uma lista imensa de perguntas que fazem o escritor revisar e melhorar a sua narrativa. Só por essa parte já vale a pena comprar o Revision and Self-Editing do James Bell.
Fica a recomendação!
ANOTAÇÕES DO LIVRO
Durante a releitura do Revision and Self-Editing, fiz algumas anotações de elementos importantes. As anotações seguem abaixo, e quem sabe, um dia eu organizo tudo em artigos bonitinhos e limpinhos. Mas como todo meu tempo livro está sendo consumido pela reescrita e edição da segunda versão do Marca da Caveira, fica aqui as anotações de maneira tosca mesmo. Espero que gostem dessas dicas valiosas do James Bell! :)
DICAS PARA ESCRITORES DO REVISION AND SELF-EDITING:
* Separe o Criador do Editor. Escreva livremente, jogue tudo no papel, sem censura. Crie livremente sem que o Editor o atrapalhe. Em um outro momento Edite usando todos os seus conhecimentos da arte da escrita. Com o tempo o Criador vai internalizar muita coisa e as primeiras versões ficarão cada vez melhores.
* Ler livros, anotar, perceber a estrutura da trama, a caracterização, as descrições, praticar o que se aprendeu.
* Nunca parar de buscar conhecimentos para melhorar a sua escrita.
* Desenvolver um “senso de história”, deixar o leitor intrigado com o que pode acontecer. Escrever sobre dificuldades morais, espirituais, físicas, e como encontra uma saída dessas dificuldades. Transportar o leitor para outro lugar e espaço. Colocar um pouco de magia na prosa, um pouco de toque poético, palavras e frases que cantam.
* Mantenha-se escrevendo. Não espere por inspiração. O Trabalho gera inspiração. Continue escrevendo.
* Auto-edição é a habilidade de saber o que faz uma narrativa funcionar, para quando você estiver escrevendo a Primeira Versão, você já vai estar criando algo que irá prender o leitor.
* A Fórmula de uma grande narrativa:
CONCEITO + PERSONAGENS X CONFLITO = NARRATIVA
* Conceito – Pode ser de grande escopo “e se uma equipe de mineradores espaciais encontrasse um ovo de um monstro alienígena” ou de pequeno escopo “um pai de família tem que cuidar de seu filho depois que sua esposa o abandonou”.
* Personagens – São essenciais para a ficção, sem personagens sem história.
* Conflito – É o “sangue” da ficção, a pulsação da narrativa. Sem conflito uma narrativa não respira. Como disse Alfred Hitchcock “Uma história é como a vida, sem as partes entediantes”. Sem conflito = Chato pra caralho!
* Entreviste seus personagens, crie diários dos seus personagens, escreva eles em cenas diferentes, cenas do seu passado.
* Conheça bem seus personagens, quanto mais você saber dos seus personagens mais vivos eles ficam, quebrando os clichês.
* Narre os pensamentos do seu personagem para envolve mais o leitor, mas cuidado com excessos. Os momentos mais apropriados para escrever os pensamentos de um personagem são:
- Momentos de intensidade emocional.
- Momentos de virada na trama.
- Momentos em que o personagem tem que analisar uma situação.
- Desafios que o personagem precisa refletir consigo mesmo.
- Dilemas internos antes de tomar uma decisão.
- Impressões pessoais ao encontrar com outr personagem ou chegar em um novo local.
- Cenas onde o personagem está sozinho e reagindo a ações que aconteceram.
* Técnica do Hemighway de mostrar pensamentos:
Mostre por fora, por meio de ações, movimentos corporais, subtextos da fala, expressões faciais, torna a prosa mais forte para o leitor.
* Comprima os pesamentos dos personagens o máximo possível. Uma técnica: escreva os pensamentos de um personagem em uma cena direto, escreva tudo que ele esteja pensando. Depois, ao editar, vá cortando tudo que não for essencial. O que for essencial fica mais forte e passa toda a carga emocional do que foi cortado (e mostra um escritor experiente).
* Veja em que momentos da narrativa a linguagem muda, mostrando uma intromissão do autor. Cheque por descrições, pensamentos, reminiscências que saiam do ponto de vista narrativo, quebrando a ilusão de se estar experimentando a história pelos olhos do protagonista.
* Analise grandes vilões da literatura, como Hannibal Lecter por exemplo. O que o tornou tão carismático?
* Protagonistas precisam ser ATIVOS, precisam agir, ter planos, fazer algo, serem PROTAGONISTAS de sua história.
* Dê tanta atenção para a Oposição ao protagonista quanto aos seus Aliados.
* Todos os personagens de uma narrativa precisam servir a um propósito dentro da narrativa.
LISTAS DE PERGUNTAS PARA SE FAZER AO COMEÇAR A REVISÃO-EDIÇÃO-REESCRITA DA PRIMEIRA VERSÃO
Perguntas para o Protagonista(s):
* Vale a pena seguir a narrativa do meu protagonista pela narrativa inteira do livro? Porquê?
* Como eu faço para o meu protagonista “saltar das páginas”, impactar mais o leitor?
* Existe contraste entre os personagens da narrativa? Existem personagens redundantes, muito parecidos, e que poderiam ser mesclados em um único personagem?
* Os meus leitores irão se simpatizar com o meu protagonista porque:
_ Ele cuida de alguém além de si mesmo?
_ É engraçado?
_ É irreverente ou um rebelde sem causa?
_ É competente em algo?
_ É um rebelde lutando contra dificuldades enormes sem desistir?
_ Tem um sonho ou um desejo que os leitores podem se identificar?
_ Sofre de injustiça mas não reclama disso?
_ Está em sério perigo ou desvantagem?
_ Passa por vários estágios emocionais na narrativa?
_ Passa por mudanças significativas internamente por causa da narrativa?
Perguntas sobre os Personagens de Oposição:
*Ele é tão bem construído quanto o Protagonista?
*Seu comportamento é justificado, em sua mente?
*Você como autor está sendo justo com a oposição ao protagonista? Está forçando a narrativa para um dos lados do conflito?
*A oposição é mais forte do que o protagonista em sua habilidade de vencer o conflito? Se não for, como torná-la mais forte ainda?
*Você conhece bem a oposição/os vilões? Como foi a vida deles até o momento da narrativa? O que eles quere, gostam, desgostam, sonham, etc?
Perguntas a se fazer sobre o vilão da história:
- Ele é um personagem complexo, com vida interior, com desejos, motivações, fraquezas, dúvidas, etc?
- Como ele justifica para si mesmo as suas ações?
- Em que ele é bom? Como isso ajuda a ele conseguir o que quer?
- Que qualidades admiráveis ele possui?
- O que os outros personagens pensam dele?
- O que pode fazer com que pessoas se sintam atraídas por ele ou pelo menos fascinadas por ele?
Perguntas sobre os personagens menores (três tipos, que ajudam, que dificultam e os híbridos, que ajudam uma hora e dificultam em outra):
*Qual é o seu propósito na história?
*Quais marcadores audio-visuais eu posso colocar nesses persoangens, para distingui-los facilmente na narrativa?
*Como eu estou evitando os clichês? (Por isso é importante ler muito, para conhecer os clichês e saber como trabalhar com eles, evitando ou desconstruindo).
*Que possibilidades na trama, uma virada, uma revelação do meu protagonista, etc. esse personagem oferece?
*Como esse personagem pode atrapalhar, irritar ou ajudar o meu protagonista?
Perguntas sobre a Trama
* Existe algum ponto da narrativa que tire o interesse do leitor? Que está chato, lento, entediante?
* A narrativa parece que é sobre pessoas fazendo coisas sem nenhuma motivação interna? Automaticamente? Ou as ações são contextualizadas pela motivação dos personagens?
* A história está desequilibrada? Muita ação? Muita reação? Muitos monólogos interiores? Muito diálogo? Como posso equilibrar mais esses elementos?
Perguntas para a Abertura da Narrativa (a Primeira Cena):
* Eu começo a história com a narrativa em marcha? Ou estou gastando muito tempo “aquecendo os motores”? Como começar a narrativa agarrando o leitor logo de cara?
* Que cenário estou querendo apresentar? Que tipo de clima quero evocar na narrativa? Qual é o tom que a minha narrativa deve ter? Tom de comédia, tom romântico, tom sombrio, tom realista, etc? As descrições estão de acordo com esse tom?
* O que acontece no Ato 1 vai levar o meu leitor a continuar lendo? Qual é o perigo para o protagonista?
* Quem está em oposição ao protagonista? Ele é tão forte, ou melhor, mais forte do que o protagonista? Como eu mostro isso?
* Existe conflito suficiente a primeira cena e no primeiro ato para manter a narrativa por todo o livro?
* Coloquei muita exposição (descrição do cenário ou do que aconteceu antes da narrativa) ou pouca exposição? Como posso reduzir a exposição para o essencial e assim não entediar o leitor? Como posso colocar a exposição em diálogos, ou melhor, em discussões? Como posso espalhar a exposição ao longo da narrativa?
*O que pode piorar mais ainda a situação do meu protagonista?
*O que é familiar no meu conceito? Já foi feito antes? Como eu posso torná-lo mais original? Como posso abordar de uma maneira diferente?
*E se eu mudar totalmente o cenário?
*Que característica do meu protagonista que o atrapalha? Como posso tornar essa característica mais perigosa para o protagonista?
*Como posso jogar os personagens uns contra os outros?
*Como eu posso fazer com que personagens que se amam acabem se odiando? Ou serem forçados a ficarem em lados opostos?
*Se o meu livro virasse um trailer de filme, como seria esse trailer? O que eu gostaria de ver em um filme baseado no meu livro? O que teria que aparecer em um filme baseado no meu livro? (isso ajuda a chegar ao essencial da sua narrativa, e cortar os excessos!).
Perguntas para o Meio da Narrativa:
* Estou aprofundando os relacionamentos dos personagens?
* Porque o leitor deveria se importar com o que está acontecendo?
* Como eu justifiquei o conflito final ou a escolha final que irá fechar a trama?
* Existe uma sensação de perigo ou de tensão (física, profissional, amorosa, psicológica, financeira, etc.) que percorre a narrativa?
* O que está mantendo os personagens juntos? Porque os personagens não se separam, cada um para o seu lado?
* As minhas cenas contém conflito e tensão? Que cenas estão fracas? Como posso cortá-las ou reescreve-las para terem mais conflito e tensão?
* As cenas estão desenvolvendo personagens e avançando a trama?
* Minhas tramas paralelas estão fortes o suficiente para continuarem na narrativa?
* O Ponto de Vista narrativo está consistente?
* Se tenho uma cena de AÇÃO (onde o protagonista age na narrativa), o objetivo está claro?
* Se tenho uma cena de REAÇÃO (onde o protagonista reage aos acontecimentos), a emoção está clara?
Perguntas sobre Descrições:
* O cenário está vivo para o leitor?
* Você descreveu o cenário junto com as ações dos personagens? Você evitou descrições estáticas que tornam a leitura mais lenta?
* As descrições estão contribuindo para revelar o tema da narrativa? Para revelar a personalidade do personagen que tem o ponto de vista?
* As descrições de pessoas e lugares estão muito genéricas?
* As descrições estão contribuindo para o clima e o tom da narrativa?
* Existem clichês nas descrições?
Perguntas sobre os diálogos:
* O diálogo está simplista, direto, com uma única interpretação? Você pode torcer mais os diálogos, responder uma pergunta com outra pergunta, deixar mais oblíquio e revelar emoções, desejos, etc. por eles?
* Seus personagens mentem através de seus diálogos?
* O diálogo usa atribuições simples como “disse” ou é um festival de atribuições diferentes que tiram a ilusão do diálogo como “retrucou”, “explicou”, “declarou”, etc.?
* Pode-se trocar o “disse” por verbos de ação? (Exemplo: Ele jogou o travesseiro na cara dela.
_ Fique com isso! Fique com tudo!)
* Pode-se tirar o “disse” ou as outras atribuições e o diálogo continuar compreensível.
* Você reconhece os personagens apenas por suas falas? Como eles diferem em suas falas? Usam sintaxes diferentes? Gírias? Palavras que se repetem? Que elementos nas falas servem para identificar seus personagens?
* Os diálogos criam tensão? Mesmo entre alidados? Causam surpresas no leitor?
* Os personagens estão usando os diálogos como armas? Como deixar os diálogos mais conflituosos, como lutas?
* Como você pode comprimir seus diálogos apenas para o essencial? Quantas palavras e frases você pode cortar do seu diálogo e ainda assim manter o seu objetivo dentro da narrativa?
* Leia os diálogos em voz alta. Estão naturais? Soam naturais?
* Orquestre diálogos entre vários personagens marcando claramente cada um dos participantes. Trabalhe as frases para que cada participante seja identificado pelo que ele fala?
* Imagine o tom de voz, a emoção, a cadência, o modo como cada personagem fala.
Perguntas sobre o Tema:
* Eu sei qual é o tema da minha narrativa? Sobre o que é a minha narrativa, em sua essência?
* Surgiram outros temas ao longo da história? Quais são eles?
* Eu coloquei os elementos temáticos naturalmente na narrativa?
* Eu evitei dar uma “palestra” sobre o tema para os leitores, em detrimento da narrativa? O tema está mais sutil ou “na cara” do leitor?
DICAS PARA O POLIMENTO DO LIVRO – AS REVISÕES FINAIS
O Polimento do Livro
1) Leia todas as aberturas de capítulo do seu manuscrito, e se pergunte:
_ Posso abrir um pouco mais tarde esse capítulo?
_ A abertura é interessante? Tem conflito ou ação?
_ A abertura identifica claramente de quem é o Ponto de Vista narrativo do capítulo?
_ Se você abriu com uma descrição, ela está avançando a trama e desenvolvendo personagem? Se não, posso abrir o capítulo de outra forma? Com uma fala ou ação do Personagem Ponto de Vista do capítulo?
_ Os meus capítulos abrem da mesma forma? Como posso variar a abertura?
2) Leia todos os Finais de Capítulos.
_ Posso terminar um pouco antes e aumentar o suspense do que vai acontecer? Um, dois ou mais parágrafos antes?
_ Eles tem ganchos que fazem o leitor querer ler mais?
3) Diálogos:
_ Posso deixá-los mais sintéticos?
_ Como estão as atribuições?
_ Posso deixar os diálogos mais inteligentes, menos diretos, menos óbvios?
4) Procura de Palavras
_ Procure por palavras que se repetem no texto inteiro, veja se dá para colocar sinônimos ou alterar as frases. Procure por repetição de frases, de termos.
_ Arranque todos os advérbios que forem possíveis.
5) Releia e revise as CENAS IMPORTANTES se perguntando:
_ Posso melhorar essa cena? Posso deixar ela mais interessante ainda? Posso aumentar a tensão? Aumentar o drama? Aumentar o suspense?
__________
E o segredo dos segredos: Leia, Leia, Escreva, Escreva, Reescreva, Reescreva e volte a Ler, Ler, repetindo infinitamente que você vai evoluir sempre como escritor! :)
July 8, 2014
Firstly, I want to say how I loved this book. This series has a way with keeping me interested!
Secondly, I read another review that stated this book was 80% how to write and 20% how to edit. And at first I agreed with them. But then I sat down and thought about it.
Editing and revising are just going back and polishing up what you've written, adding in more characters or deleting some to make it better! How can you do this if you don't understand the basics well? When I read through the first part of this book, I was inspired to already fix parts of my book up. I saw some issues I had and corrected them. That's why so much was dedicated to writing the best book! Because editing involves that as well!
So I just want to encourage everyone to give this book a try. It is wonderful and I know you will feel more confident with editing and revising your novel/short story/ play/ whatever you have written once you're done!
Secondly, I read another review that stated this book was 80% how to write and 20% how to edit. And at first I agreed with them. But then I sat down and thought about it.
Editing and revising are just going back and polishing up what you've written, adding in more characters or deleting some to make it better! How can you do this if you don't understand the basics well? When I read through the first part of this book, I was inspired to already fix parts of my book up. I saw some issues I had and corrected them. That's why so much was dedicated to writing the best book! Because editing involves that as well!
So I just want to encourage everyone to give this book a try. It is wonderful and I know you will feel more confident with editing and revising your novel/short story/ play/ whatever you have written once you're done!
October 20, 2020
I learned a lot. Took lots of notes and will be referencing this in the future. Once again Mr. Bell has been very helpful.
August 31, 2016
Perfect for beginners
Let me just start by saying that this book would be ideal for writers who have no experience writing. Why do I say this? Because the first half of the book is dedicated to small summaries of how you could (should maybe) write and examples of plot etc. (the basics). I’m not saying the first half is useless, but I didn’t find anything new in there, and it wasn’t that relevant to the title of the book (a little misleading).
Tone
I like Bell’s tone throughout the book. He has an excellent voice and is easy to read and understand. He clearly states whose books you should emulate (to become a best seller) and gives examples of say opening lines or paragraphs from Stephen King or other thriller writers. I guess this book wasn’t directed to fantasy audiences as I noticed most of the examples he quoted were thrillers.
Usefulness
I would go as far as to say I found his revision techniques at odds with my own (but it’s good to see and experiment with them). Unfortunately for this review, I can’t quote off the top of my head what he suggested. But I remember him writing that revision for your first book should take a while and that your first draft is utter crap. I guess he expects all authors just to write down uninhibited what they think the story should be, or how it should go. My first draft was crap, but not that far out from what I expected as I had planned the story from the beginning. So, I haven’t been able to use his techniques for revision. I think he also suggested you have a log of all that your character says, so you can keep it consistent. Well, I appreciate that would work, that’s a bit too far out of the scope for how I want to revise.
Conclusion
If you want techniques for revision, this book does have them (just in the second half). I would recommend you get this book out on loan if possible. Bell has an easy to read and conversational style that will keep you reading through the book. The only thing I find is that the title is a little misleading.
Originally published at www.amaitken.com/book-review/revision-self-editing-review/ on August 20, 2016
Let me just start by saying that this book would be ideal for writers who have no experience writing. Why do I say this? Because the first half of the book is dedicated to small summaries of how you could (should maybe) write and examples of plot etc. (the basics). I’m not saying the first half is useless, but I didn’t find anything new in there, and it wasn’t that relevant to the title of the book (a little misleading).
Tone
I like Bell’s tone throughout the book. He has an excellent voice and is easy to read and understand. He clearly states whose books you should emulate (to become a best seller) and gives examples of say opening lines or paragraphs from Stephen King or other thriller writers. I guess this book wasn’t directed to fantasy audiences as I noticed most of the examples he quoted were thrillers.
Usefulness
I would go as far as to say I found his revision techniques at odds with my own (but it’s good to see and experiment with them). Unfortunately for this review, I can’t quote off the top of my head what he suggested. But I remember him writing that revision for your first book should take a while and that your first draft is utter crap. I guess he expects all authors just to write down uninhibited what they think the story should be, or how it should go. My first draft was crap, but not that far out from what I expected as I had planned the story from the beginning. So, I haven’t been able to use his techniques for revision. I think he also suggested you have a log of all that your character says, so you can keep it consistent. Well, I appreciate that would work, that’s a bit too far out of the scope for how I want to revise.
Conclusion
If you want techniques for revision, this book does have them (just in the second half). I would recommend you get this book out on loan if possible. Bell has an easy to read and conversational style that will keep you reading through the book. The only thing I find is that the title is a little misleading.
Originally published at www.amaitken.com/book-review/revision-self-editing-review/ on August 20, 2016
September 12, 2019
Good info in the revision section (the last bit of the book) but it seemed like a big portion of it was repeat info from the Plot & Structure book, so I skimmed most of that and read the 20 or so pages that were actually relevant.
July 11, 2024
By far the most interesting and useful part of this book is the Revision section, which unfortunately is the smallest part. I plan to make myself a checklist for revision using this as a framework and adding to it as I find other things I want to look out for.
The first section, which could be useful if you have a VERY rough first draft and don't know a lot about writing, is pretty basic in my opinion. It might actually be useful before writing anything, as it would alert you to the things you'll be looking for in revision.
I started reading this book a looong time ago (2010 according to Goodreads), when I wasn't writing as regularly as I am now. I used to think I needed to do every exercise I ran across in writing books, which resulted in a lot of unfinished writing books. I'm taking a different approach now, only doing exercises I think will be immediately helpful, and trying to get through the entire book, taking what's useful and leaving the rest. I guess I'm saying I skipped over the exercises in this book and I plan to keep doing this with other writing books. You've been warned.
The first section, which could be useful if you have a VERY rough first draft and don't know a lot about writing, is pretty basic in my opinion. It might actually be useful before writing anything, as it would alert you to the things you'll be looking for in revision.
I started reading this book a looong time ago (2010 according to Goodreads), when I wasn't writing as regularly as I am now. I used to think I needed to do every exercise I ran across in writing books, which resulted in a lot of unfinished writing books. I'm taking a different approach now, only doing exercises I think will be immediately helpful, and trying to get through the entire book, taking what's useful and leaving the rest. I guess I'm saying I skipped over the exercises in this book and I plan to keep doing this with other writing books. You've been warned.
May 26, 2021
This is a really solid guidebook for writing fiction. I especially liked Chapter 7: Beginnings, Middles, and Ends (I loved what Bell says about 'disturbances'); Chapter 9: Voice and Style (I've now incorporated daily poetry reading into my writing routine); and Chapter 15: The First Read-Through (really great advice for how to create your own revision process). I recommend finishing a draft before tackling Bell's revision techniques. If you are still working on a first draft, maybe start with Chapter 14: Before You Revise, and then decide how you want to incorporate Bell's skill-building techniques into your writing sessions as you move forward.
January 18, 2021
Great resource to help writers hone their first drafts. The focus is on substance and depth and with plenty of examples and easy to follow, point-form key points, each chapter gives an exact and concise perspective on what it takes to really dig into a first draft revision process. My eyes have been opened to techniques and points to remember that now seem obvious, but that I didn't even consider for my first four books.
Excellent resource that I'm sure will be used until the pages start to come loose.
Excellent resource that I'm sure will be used until the pages start to come loose.
May 3, 2021
4 stars!
A comprehensive overview of the tactics for writing and editing a novel. I kind of wish I had read this book when I was still a young writer because then I could have skipped a lot of frustration in my writing journey. I'd recommend this book to anyone who is just starting out with writing, and for those who struggle to write a complete novel and edit that novel past the first draft.
A comprehensive overview of the tactics for writing and editing a novel. I kind of wish I had read this book when I was still a young writer because then I could have skipped a lot of frustration in my writing journey. I'd recommend this book to anyone who is just starting out with writing, and for those who struggle to write a complete novel and edit that novel past the first draft.
Read
March 6, 2020This writing craft book is above-average. It is helping me to revise my novel.
February 11, 2022
Love the little-big gems of techniques in this book. I borrowed it from the library but I think I am going to buy it. Lots of examples and questions to ask yourself and even a great motivator for your writing slumps.
February 14, 2015
How-to books for writing come in as many variations as there are writers. Some are hype, promising you'll make $100,000 in your first year of freelancing or a $50,000 advance on your first novel. They promise much more than they deliver. There are also the texts which do provide some useful information, but they're about as dry as the Nevada desert in August.
But every once in awhile a writing instruction book comes down the pike which not only delivers techniques you can immediately apply to your own fiction writing, but is actually entertaining to read too. James Scott Bell's Revision & Self-Editing is that kind of book.
Writers worth their salt are always looking to improve their craft. We want each plot to be stronger, each character deeper, each book or story to be better than the last. We're desperate to write a novel that'll keep our readers up `til dawn. But what do we do when we churn out a draft that is, shall we say, junk? What if we know something's not right, but we have no clue how to fix it?
Jim Bell to the rescue. In his previous book Plot & Structure he taught us how to create compelling plots. Now in Revision and Self-Editing he shows us "techniques for transforming our first drafts into a finished novel". When asked who the book was for, Jim told me, "Any beginner who wants to learn the essentials of the craft. And experienced writers, who can pick up some extra tips that work and a systematic approach to revision that will make their books better."
Part I: Self-Editing, gives us an overview of various fiction techniques and exercises. Here Bell touches on the building blocks of novel writing like point of view; show vs. tell and beginnings, middles and ends. It's here in this section readers of Plot & Structure might notice some re-cap. But even seasoned novelists need to be reminded of things like Bell's LOCK system (the four essentials of strong narrative) and what makes great dialogue.
Part II is where we heat up and get down to the nitty gritty of resuscitating our manuscripts. And let's face it--almost every first draft we write is going to need help. As Bell says, "Submitting a novel without rewriting is like playing ice hockey naked. You're just not equipped to put your best, um, face on things. And sooner rather than later a well-placed puck is going to hit you where it hurts most. That puck is the editor's or agent's built-in prejudice against weak material."
Broken down into easy read and digest sections, Bell shows us how to overcome obstacles like procrastination and what to do before you revise. He gives common fixes for everything from setting & description to dialogue and theme. For example, if your opening isn't working he suggests revving up our opening line or weeding out too much backstory, exposition and cast. Your middle sagging? Try strengthening your exposition, adding a subplot, raising the stakes, trimming, or adding research.
If you've ever attended one of Jim's writing classes, you know he doesn't just preach at you, he shows you examples of what works in the real world. Revision & Self-Editing is chock full of examples from successful, published novels and even movies. There are tidbits of advice from other published novelists like Athol Dickson and Terri Blackstock. Exercises after each chapter help you retain and apply what you've learned (Jim provides answers at the back of the book.)
Speaking of writing conferences, that's what reading this book felt like--attending a break-out session presented by a skilled wordsmith who knows of what he speaks. Like a caring English Professor, Jim hovers over your shoulder pointing out the problems and dishing out the fixes. He pulls no punches, and you can tell he wants those who read this book to succeed. With lots of sweat, burning desire, and these techniques in your back pocket, you truly can.
When Plot & Structure released I said, "If you can only buy one writing book, buy this one." Well, it's time to make space on your shelves for one more. Revision & Self-Editing deserves it.
But every once in awhile a writing instruction book comes down the pike which not only delivers techniques you can immediately apply to your own fiction writing, but is actually entertaining to read too. James Scott Bell's Revision & Self-Editing is that kind of book.
Writers worth their salt are always looking to improve their craft. We want each plot to be stronger, each character deeper, each book or story to be better than the last. We're desperate to write a novel that'll keep our readers up `til dawn. But what do we do when we churn out a draft that is, shall we say, junk? What if we know something's not right, but we have no clue how to fix it?
Jim Bell to the rescue. In his previous book Plot & Structure he taught us how to create compelling plots. Now in Revision and Self-Editing he shows us "techniques for transforming our first drafts into a finished novel". When asked who the book was for, Jim told me, "Any beginner who wants to learn the essentials of the craft. And experienced writers, who can pick up some extra tips that work and a systematic approach to revision that will make their books better."
Part I: Self-Editing, gives us an overview of various fiction techniques and exercises. Here Bell touches on the building blocks of novel writing like point of view; show vs. tell and beginnings, middles and ends. It's here in this section readers of Plot & Structure might notice some re-cap. But even seasoned novelists need to be reminded of things like Bell's LOCK system (the four essentials of strong narrative) and what makes great dialogue.
Part II is where we heat up and get down to the nitty gritty of resuscitating our manuscripts. And let's face it--almost every first draft we write is going to need help. As Bell says, "Submitting a novel without rewriting is like playing ice hockey naked. You're just not equipped to put your best, um, face on things. And sooner rather than later a well-placed puck is going to hit you where it hurts most. That puck is the editor's or agent's built-in prejudice against weak material."
Broken down into easy read and digest sections, Bell shows us how to overcome obstacles like procrastination and what to do before you revise. He gives common fixes for everything from setting & description to dialogue and theme. For example, if your opening isn't working he suggests revving up our opening line or weeding out too much backstory, exposition and cast. Your middle sagging? Try strengthening your exposition, adding a subplot, raising the stakes, trimming, or adding research.
If you've ever attended one of Jim's writing classes, you know he doesn't just preach at you, he shows you examples of what works in the real world. Revision & Self-Editing is chock full of examples from successful, published novels and even movies. There are tidbits of advice from other published novelists like Athol Dickson and Terri Blackstock. Exercises after each chapter help you retain and apply what you've learned (Jim provides answers at the back of the book.)
Speaking of writing conferences, that's what reading this book felt like--attending a break-out session presented by a skilled wordsmith who knows of what he speaks. Like a caring English Professor, Jim hovers over your shoulder pointing out the problems and dishing out the fixes. He pulls no punches, and you can tell he wants those who read this book to succeed. With lots of sweat, burning desire, and these techniques in your back pocket, you truly can.
When Plot & Structure released I said, "If you can only buy one writing book, buy this one." Well, it's time to make space on your shelves for one more. Revision & Self-Editing deserves it.
November 12, 2015
Let’s get this on the table right now: Jim Bell does not write a bad craft-of-writing book. Does NOT.
In one case, however, the title of his book does not match the contents. That case is Revision and Self-Editing for Publication. As K. M. Weiland noted in her 3-star review of this book here on Goodreads, there’s little here about revision or self-editing. That’s too bad because what little there is clearly shows that if Bell had focused on those tasks, rather than writing yet another book about writing a decent first draft, he could have done well.
Bell divides the book into two sections: “self-editing” and “revision.” The self-editing section is classic Bell writing craft material, full of suggestions and techniques for coming up with ideas, getting over/under/around/through blocks, and making sure each scene has a Lead who has an Objective but is faced with a Confrontation before the scene reaches a Knock-out ending that launches the reader into the next scene—his LOCK method. All of which is great, but where’s the self-editing? It’s found only in the occasional, in-passing reference to the fact that you’ll come back and edit your work. That’s true, but where’s the retrospective, “now that you’ve written a first draft” approach?
To some extent, it’s in the second section, yet even here there the chapter on “deepening” focuses on techniques for building a good first draft, rather than revising it.
This is not to say—again—that this is a bad book. The chapters on things to do before you start revising, and on doing the first read-through, and the revision checklist make the book a worthwhile read. But for an author looking for guidance on revision and editing, those are about the only ones he or she needs to read.
What disappoints me most about this book is that my copy is a second edition. That means that Bell and his editors had the opportunity to realize what they’d done after the first edition and refocus the book for the second, or do a completely new book. They didn’t.
There are plenty of books on revising and editing out there already—Self-Editing for Fiction Writers by Renni Browne and Dave King stands at the head of the class as far as I’m concerned—but Bell could be right there with them with a book that truly focused on post-draft-one tasks. He can do this, and I hope someday he will.
In one case, however, the title of his book does not match the contents. That case is Revision and Self-Editing for Publication. As K. M. Weiland noted in her 3-star review of this book here on Goodreads, there’s little here about revision or self-editing. That’s too bad because what little there is clearly shows that if Bell had focused on those tasks, rather than writing yet another book about writing a decent first draft, he could have done well.
Bell divides the book into two sections: “self-editing” and “revision.” The self-editing section is classic Bell writing craft material, full of suggestions and techniques for coming up with ideas, getting over/under/around/through blocks, and making sure each scene has a Lead who has an Objective but is faced with a Confrontation before the scene reaches a Knock-out ending that launches the reader into the next scene—his LOCK method. All of which is great, but where’s the self-editing? It’s found only in the occasional, in-passing reference to the fact that you’ll come back and edit your work. That’s true, but where’s the retrospective, “now that you’ve written a first draft” approach?
To some extent, it’s in the second section, yet even here there the chapter on “deepening” focuses on techniques for building a good first draft, rather than revising it.
This is not to say—again—that this is a bad book. The chapters on things to do before you start revising, and on doing the first read-through, and the revision checklist make the book a worthwhile read. But for an author looking for guidance on revision and editing, those are about the only ones he or she needs to read.
What disappoints me most about this book is that my copy is a second edition. That means that Bell and his editors had the opportunity to realize what they’d done after the first edition and refocus the book for the second, or do a completely new book. They didn’t.
There are plenty of books on revising and editing out there already—Self-Editing for Fiction Writers by Renni Browne and Dave King stands at the head of the class as far as I’m concerned—but Bell could be right there with them with a book that truly focused on post-draft-one tasks. He can do this, and I hope someday he will.
October 11, 2014
I've wanted to write a novel for decades, and done hundreds of thousands of words of writing without ever really tying together even a full first draft, despite years of tertiary writing courses. I recent read Stephen King's On Writing and found it entertaining and motivating, so I went to the library and flicked through a dozen other books on writing, eventually borrowing six or eight and delving in a little deeper. I found this to be the best. Some were overly systematic and methodical in their approach. King seems to be on the other end of the spectrum, but is still very entertaining. Bell seems to fall somewhere in the middle and to strike a good balance between structured suggestions and entertaining examples. His thinking on 'how to' is clear, and emphasises working ones guts out, in a clever way to cultivate a narrative that works in every moment of ones manuscript. Shape, craft and polish all facets with the kind of rigour Bell suggests and you really could call yourself a writer.
I'm renovating a house and trying to sustain a new relationship so I'm yet to put most of his suggestions into practice. Finishing this book my mind is figuratively popping with ideas. The story I want to tell is taking shape in my mind. A journey of a thousand miles begins with a single step, but oh, there is such a difference between deciding to go on that journey, and actually taking the first step.
I know what I want to be, but I can't call myself a writer yet. I can call myself a reader, so I'm part of the way there. This is a good book and I feel confident there are some more tools in my toolbox now. LA is so different to Melbourne, but a good story has certain qualities that are fairly common wherever I am. Let's enjoy an occupation with a timeless appeal!
I'm renovating a house and trying to sustain a new relationship so I'm yet to put most of his suggestions into practice. Finishing this book my mind is figuratively popping with ideas. The story I want to tell is taking shape in my mind. A journey of a thousand miles begins with a single step, but oh, there is such a difference between deciding to go on that journey, and actually taking the first step.
I know what I want to be, but I can't call myself a writer yet. I can call myself a reader, so I'm part of the way there. This is a good book and I feel confident there are some more tools in my toolbox now. LA is so different to Melbourne, but a good story has certain qualities that are fairly common wherever I am. Let's enjoy an occupation with a timeless appeal!
January 6, 2015
January 1, 2015- January 5, 2015
This time I'm actually ready to revise and read the whole book.
April 28 - May 12, 2014
I admit, this time around I skimmed until I reached the Revision status, but that's because I'm looking at this book more as a guidebook for the story that I'm actually revising. :D
July 20-25, 2013
I absolutely love this book and would recommend it to any writer.
I am an aspiring writer who has never actually revised a novel. I just got the writing part down, now I need to learn how to go to the next step. I had no idea how I was going to do that, so I read this book before I started my next story and now I feel pretty confident.
For starters, this book focuses on things that you can do before you even start writing - which really shouldn't surprise me because I loved Bell's other book in the Write Great Fiction series: 'Plot & Structure.' That part is entitled Self-Editing, and I really can see how it works before and during writing. That takes up 70% of the book, but I found it to be really helpful.
The last 30% of the book is what to do after you've written your novel. It really breaks the revision process down to manageable chunks. The idea of revising a 90K novel still has me a bit uncertain, but after reading through everything he says about doing it, I feel like I can do it.
I have a feeling that I will be rereading this book quite often when it finally comes down to actually revising my own novel.
This time I'm actually ready to revise and read the whole book.
April 28 - May 12, 2014
I admit, this time around I skimmed until I reached the Revision status, but that's because I'm looking at this book more as a guidebook for the story that I'm actually revising. :D
July 20-25, 2013
I absolutely love this book and would recommend it to any writer.
I am an aspiring writer who has never actually revised a novel. I just got the writing part down, now I need to learn how to go to the next step. I had no idea how I was going to do that, so I read this book before I started my next story and now I feel pretty confident.
For starters, this book focuses on things that you can do before you even start writing - which really shouldn't surprise me because I loved Bell's other book in the Write Great Fiction series: 'Plot & Structure.' That part is entitled Self-Editing, and I really can see how it works before and during writing. That takes up 70% of the book, but I found it to be really helpful.
The last 30% of the book is what to do after you've written your novel. It really breaks the revision process down to manageable chunks. The idea of revising a 90K novel still has me a bit uncertain, but after reading through everything he says about doing it, I feel like I can do it.
I have a feeling that I will be rereading this book quite often when it finally comes down to actually revising my own novel.
July 18, 2012
The first seventy-five percent of Revision and Self-Editing discusses the craft of writing from theme to plot to characterization. Only the last twenty-five percent discusses revision.
Although I learned a lot from this book, I believe the book is misnamed and should be Writing and Revising a Great Novel. Alas, my title may not be as catchy, and the author would probably argue that if you practice what is written in the first seventy-five percent of the book, then you will not need as much time for revision.
Regardless, Revision and Self-Editing is a must read for first-time novelists and a good read for experienced writers as well.
Although I learned a lot from this book, I believe the book is misnamed and should be Writing and Revising a Great Novel. Alas, my title may not be as catchy, and the author would probably argue that if you practice what is written in the first seventy-five percent of the book, then you will not need as much time for revision.
Regardless, Revision and Self-Editing is a must read for first-time novelists and a good read for experienced writers as well.
March 30, 2014
The opening of this book is where most authors talk about why they wrote it to begin with. This author, however, uses the space to talk about all the aspiring authors who have come to him with dog-eared copies of this book, chocked full of sticky notes and highlighted pages. These people, he tells us, rave about how they never write a novel without this book as a guideline.
The book is a like a broad spectrum antibiotic that tells you all the most right things any famous author or movie ever did and then tells you to do those things or your book will die. Emphasis on, not straying from tried and true methods.
Terrible. I'm just so annoyed...
The book is a like a broad spectrum antibiotic that tells you all the most right things any famous author or movie ever did and then tells you to do those things or your book will die. Emphasis on, not straying from tried and true methods.
Terrible. I'm just so annoyed...
January 4, 2020
This!
Seriously, there isn't much more to be said. If in doubt, get a James Scott Bell writing guide and he'll guide you through all the vagaries of writing and publishing. I owe him my "super-realistic dialogue" and,with the help of this guide, I set up an editing file that should address most of the issues I wrestled with in my latest oevre.
Yes, as others have stated correctly, the title is misleading, as the major part of this guide is on WRITING, rather than editing.
However, the overview is so succinct and clever that, in combination with the actual revision tips, it inspired me to create my own revision formula.
Seriously, there isn't much more to be said. If in doubt, get a James Scott Bell writing guide and he'll guide you through all the vagaries of writing and publishing. I owe him my "super-realistic dialogue" and,with the help of this guide, I set up an editing file that should address most of the issues I wrestled with in my latest oevre.
Yes, as others have stated correctly, the title is misleading, as the major part of this guide is on WRITING, rather than editing.
However, the overview is so succinct and clever that, in combination with the actual revision tips, it inspired me to create my own revision formula.
May 19, 2014
Exercises, advice, encouragement, and practical next-steps abound in this revision how-to guide. I've even become a better reader since starting this book, because I have been shown how to spot and appreciate good writing. As I go through the revision process on my own work, I anticipate turning back to this book again in the future to see how I'm doing. It felt like taking a class (in a good way) complete with homework, and for a tiny fraction of the cost of another degree!
December 17, 2016
I love the Write Great Fiction series. This book is an awesome reference. The only reason I gave it four stars instead of five was that a lot of it was just summarizing content from the other books in the series.
There's a great revision checklist in the back. I love checklists in theory, but my brain doesn't actually know how to use them. For people who have brains that do, I'm sure you will enjoy this book all the more.
Highly recommended.
There's a great revision checklist in the back. I love checklists in theory, but my brain doesn't actually know how to use them. For people who have brains that do, I'm sure you will enjoy this book all the more.
Highly recommended.
February 7, 2013
James Scott Bell offers great advice on editing, deepening your story, and making sure the structure of your book is sound. Many of the exercises will be useful during the several rounds of revision necessary to produce a readable and memorable fiction book. I found much here to add to my revision tools. I'll be revisiting this book often.
November 12, 2014
The last chapter, the checklist, in Revision and Self-Editing is the most useful; I'm currently using it to leave no stone unturned during my revision process. There are good reasons that James Scott Bell's book on writing are perennial favorites and best sellers. I return to them time after time for the concise, common sense advice.
August 12, 2015
Reading this book couldn't have come at a better time for me. Have been struggling to finish editing my book. The tricks and the fixes in this book have not only reminded me that I already know what needs to be done and should stop stalling, but have given me fresh insights into what and where I can take my fiction.
This is a great writers resource.
This is a great writers resource.
November 24, 2015
If you want to get better at editing this is the book for you. Written by bestselling author James Scott Bell the advice is worth heeding. I found the material skewed towards mystery and thriller, which is just fine by me. I learned a great deal. An extremely technical read with great exercises. I can't wait to put what I learned into practice.
February 26, 2013
I just recently finished reading this book and found it extremely helpful. James also has great prompts and questions that make you think about your story. It is on my desk while I am editing my novel. :)
October 23, 2015
The book for self editing
If you are even considering writing fiction of any sort or any length... Put this on your must read books list because it is exactly how to not look like a rank beginner.
If you are even considering writing fiction of any sort or any length... Put this on your must read books list because it is exactly how to not look like a rank beginner.
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