This document provides guidance and exercises for revising fictional stories. It discusses revision as re-seeing one's work and figuring out what has been created. The document offers advice on using critique to identify areas needing improvement rather than implementing specific edits. It provides revision techniques like showing rather than telling, developing characters and locations, adding missing elements, and transforming summaries into scenes. The document also outlines an upcoming class on structure and assigns students to revision workshop groups.

1. “Retrospect”
byRuby
Potter
 In a few sentences, what happens in this story?
 Characterization: What is an example of strong
characterization? What are places in which more types of
direct and indirect characterization would benefit the
story?
 Point of View: What is the POV and does it serve the
story?
 Plot: Is there a rising action, crisis action and resolution?
 Theme: What is this story about beyond what happens?
 Other comments and questions related to sense of place,
language.

2. “In the first draft is the
talent. In the second is
the art.” —Paul Valery
Revision, or re-
seeing, your work

3. Figuringout
whatyou’ve
created
 Whether a piece of writing comes from a writing
prompt or out-of-the-blue inspiration, the first draft
usually comes 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.

4. How touse
critique
 The best critique provides the author with an
understanding of how the work on the page has been
read. Successful critique identifies under-developed
characters, confusing plot points, shaky point of view
 Critique is not the same as editing. Editing is someone
else suggesting what you do to the work. Critique
provides the necessary insight for the writer to see
his/her/their own work fresh and make his/her/their
decisions about how to revise/rewrite.
 In using your critique sheets, don’t feel the need to
implement other people’s specific suggestions. Rather,
pay attention to the areas people have identified as
needing more/different approaches.

5. Frequently
askedquestions
Question: Almost everyone said I need to develop my
main character with more direct physical description but
I don’t feel like it. Do I have to?
Answer: You ultimately decide what to revise, but
ignoring areas in which most people had difficulties is
not considered a successful revision process.
Question: Doesn’t good writing just appear like magic?
Answer: No
Question: How important is revision anyway?
Answer: Most writers will tell you that 80 percent of
writing is rewriting. Understanding the technical aspects
of fiction, as you all do now, gives you the tools to revise.

6. But,but,but
 Question: What if I’m stuck?
 Answer: Then play around with various techniques.
Rewrite a section that’s in first person using unlimited
third. Add a paragraph about your main character’s
kindergarten teacher. Take 100 words to describe a
secondary character’s haircut. Take every summarized
action and write a scene. Technical solutions means
you always have something new to try.

7. Revisionvs.
Futzing
 The revision process should include checking word
choice, sentence structure, grammar etc., but that
should all come last.
 Instead, start with the larger elements of fiction as
points of revision
 But do not turn in final work that has typos or
grammatical errors.

8. TheRevisionChecklist
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 their characters without faces? 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!
Don’t revise all aspects at once. Look at one aspect, then another.

9. Revision
checklist
ALWAYS 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.

10. Summaryto Scene
Fiction requires scenes—almost always—for the portions
of the story that make up the key events in the narrative
arc.
Scene is about recreating the emotional impact of the
events in the story.
Even if the story doesn’t follow a traditional
chronological arc, it should still have key moments
that create a sense of plot, crisis action and resolution.

11. Exercise,from
summaryto
scene
SUMMARY
One day, a fairy arrived and gave Cinderella a beautiful
dress and a coach so she could go to the ball.
SCENE
The fairy smiled. With a flick of her magic wand
Cinderella found herself wearing the most beautiful
dress she had ever seen. Now for your coach, said the
fairy: "A real lady would never go to a ball on foot! Quick!
Get me a pumpkin! “Oh of course,” said Cinderella,
rushing away.

12. Your turn
 Find a section in your draft in which the action
is summarized. Turn it into a scene: aka, real-
time, dialogue, action

13. OnWednesday
 On Wednesday, we will talk about structure and ways
of thinking about structure. We will then have another
revision exercise. Bring your drafts again. Hint: This
exercise will focus on beginnings and/or endings.
 I will then assign your revision workshop small groups
for the following week
 You should be revising as much as possible in between
class and working on your final piece.

14. Nextweek
 On Monday, you will turn in your revision drafts to
your workshop groups (and one to me), and you will
meet in small groups to discuss your progress. The rest
of the class, I will explain the format for the revision
workshops (no critique sheets), review for you the final
portfolio requirements and answer questions.
 On Wednesday, you will spend the entire class in your
small groups discussion your revised pieces.

15. Revision exercises
foryoutryon
yourown
 Cut up your entire story into pieces, with an actual
scissors. Do it scene by scene. Try rearranging the
pieces by looking at them in this way.
 Write a diary entry or letter from one of your
characters to another character either in or not in the
story
 Write 100 ”facts” about one of your characters. Write
quickly without thinking too hard. Now look at them:
Can any be used/integrated into your story?
 Pretend an editor has asked you to cut 500 words from
your story in order to publish it. Trim away what isn’t
needed.