So, here I am, facing the words I’ve written to tell the story of Perceval’s Shadow, the second novel in the Perceval series. I thought I’d start a mini-series of posts about the revision process on this novel to share its progress and maybe a little about my own creative process.
Revision work is all about making decisions. If you’re a terrible decision-maker, maybe creative writing isn’t a good fit for you. The decisions start as soon as the idea comes into a writer’s head — they masquerade as questions that need to be answered. Who is this character? What does she want? Is this story a short story? Novella? Or maybe it’s a screenplay? Where is this character? What’s her backstory? And so on — just a taste of the questions that come up at the beginning of a first draft.
For the first revision, the questions are different. The first question I asked myself was do I read straight through the draft and then start the work, or do I just start the work with chapter 1? My reply to myself, after a few minutes of thought while staring at the manuscript pages, came with a certainty of feeling in the pit of my stomach that spread throughout my body: just start the work.
So, I began by reading through the notes I’d been making over the years (yes, years) with my ideas for how I wanted each chapter, page, and paragraph to go to move the story forward and reveal character. I do that reading in motion, i.e. I walk from one end of my apartment to the other and back. Over and over until I finish going through the notes. Then I sit down at my desk, pull out my favorite purple ink pen, and begin reading chapter 1. This chapter surprised me quite a lot. It’s in good shape and I had few changes or edits. Later I discovered the reason — in the back of the file folder are five other chapter 1’s marked “old” and written all over in different colored inks. I’m certain that chapter 1 will require even more work, but for now, it’s in good shape.
Chapter 2 introduces a new character, a 10-year-old French boy named Pierre. As I began reading, I remembered how Pierre had come into my life, following me around for months before I finally figured out where he belonged, i.e. in this novel. I’d had an incredibly deep feeling for Pierre — I’m very attached to him, very protective. I’m hoping that these feelings will channel into the other characters in the story. Pierre will need their affection and protection. My prose in this chapter needed much more work than the first chapter, and I slowed down to do the work and took my time. And all through it, Pierre’s introduction into the Perceval series pleased me. I liked his feistiness. I went through this chapter twice during two different weekends.
After the second day of working on chapter 2, I turned to chapter 3. The work on this chapter began at a snail’s pace. Immediately, I saw that this chapter would need a great deal of work during this revision, and required a thorough re-think. But I know what I want this chapter to accomplish regarding revealing character and moving the story forward. The trick will be asking the right questions and putting what I learn on the page.
Revision work is like eating chocolate — it is not to be rushed but savored as a total immersion experience. The first revision for me is not about grammar, syntax or an extensive line edit. It’s about making certain I got the characters right. Revision work is the true work in writing, work to be as creative as in the first draft but in a different way, work to be focused on character. Even when I’m not at my desk, I’m thinking about it.