RevisionRe-seeing/ Re-writing

“In the first draft is the talent. In the second is the art.” —Paul

Valery

Figuring out what you’ve

created

Whether a piece of writing comes from a writing

prompt or out-of-the-blue inspiration, the first

draft should come in a burst—not from the critical

side of your brain.

Revision, on the other hand, is about looking at

what’s happened when you wrote, and figuring it

out.

From there, revision becomes about consciously

changing what is on the page.

Revision vs. futzing

The revision process should include checking

word choice, sentence structure, grammar etc.,

but that should all come last.

In other words, don’t give a car that needs a new

engine a sparkly paint job (bad metaphor)

Instead, start with the larger elements of non-

fiction as points of revision

Elements of Non-Fiction

We used the critique/workshop process to take a

look at the largest aspects of non-fiction as they

are playing out in your pieces: scene, character,

voice, reflection

Take a look at the comments—are there any

patterns in the responses? Do any of the issues

raised coincide with concerns you had about the

piece? Start where you think it needs work.

Start Looking for Theme

Memoir should not necessarily be written to make a point, but within every story, there is a larger abstract point that the writer has brought to the piece—even if unintentionally.

Start asking yourself: What is my story really about? Start big: “Love.” Get more specific: “How people search for love and never find what they want.”

Understanding your theme will help you make decisions in revision that support the theme.

Working with Theme

Theme in crafted non-fiction writing has similarities with fiction. It means that all the pieces—the narrator’s point of view, the metaphors, the setting, are helping to support that larger abstract idea. Over-do it, and you’re hitting the reader on the head. Ignore it, and you’re likely to end up with a piece that feels fragmented.

Understanding your theme helps you create connections in the writing.

Just ask yourself: What is my story about? Not what happens, but what is at stake?

The Revision Checklist

Show, don’t tell. Go through your manuscript and find the places where you’ve summarized—either dialogue or action. Are these important moments? Remember that important moments should be shown in scenes or with direct discussion.

What is undeveloped? Are your people without faces? Have you worked to transform them from your memories to characters on the page? Are there scenes without locations? Even if you over-write to fill out, you can then pull it back.

Revision means adding what’s missing and taking out what isn’t necessary. Kill your darlings!

More from the Revision

ChecklistALWAYS keep one copy of the original unrevised

work in progress. You never know when you might

want to change something back to the way it was.

Try retyping sections where you are stuck.

Read out loud. Tape record yourself reading out loud

and listen to it. Ask a friend to read your work out

loud.

All of these are steps to try to help you “re-see” your

work.

Fix the little things

While revision means more than fixing grammar errors, fixing errors also matters

I have marked typos and grammatical errors. Be sure to review and correct

If you’re unclear on some basic grammar issues, this is an excellent time to review them. Don’t let grammar scare you. Everyone has little gaps in their understanding of writing rules. Face them now.

Common grammar errors include: comma splices, verb tenses, pronoun/antecedent agreement.

A good resource: http://www.quickanddirtytips.com/grammar-girl

Critical Writing Assignment

In his memoir Night of the Gun, David Carr writes: “Memoir is a very personal form of creation myth.” In Tell It Slant, the authors write: “Memory itself could be called its own bit of creative nonfiction.”

Based on the readings of memoir and about memoir, and your own experience now with tackling memoir, please write a critical response to these statements.

Critical response=your personal response to these ideas, coupled with citation and reference to what we’ve read.

If you’re handwriting your response, turn it in at the end of class. If you’re typing it, email it before leaving to: julia.godlberg@santafeuniversity.edu

This is due before you leave.