The document provides guidance on the revision process for creative writing. It emphasizes that revision is about consciously changing and improving the work after the initial draft, such as by addressing questions about tension, length, character development, and theme. Theme refers to the overarching idea or message of the story, which writers can uncover by analyzing what their story says about its central topic. The revision process should start with larger elements of fiction before finer details, and understanding the theme can help writers make choices that enhance and support it. A variety of techniques are suggested for revising, such as showing rather than telling, developing underwritten parts, removing unnecessary elements, and getting outside perspectives by reading work aloud or giving readings.

1. Revision
Re-seeing/ Re-writing
“In the first draft is the talent. In the second is the art.” —Paul
Valery
“Talent is a long patience.” —Anton Chekhov
Read, Chapter 9 in Writing Fiction: “Play it Again, Sam”

2. Revision and Theme
Although you may not be at a revision stage yet,
this is an overview for you to consider when you
get there
I also want you to be thinking about theme in
your work and others. Theme does not have to
wait for the revision stage
You also may find you want to revise before you
submit to workshop and may have a little more
space to think about your piece. So here are
some thoughts!

3. 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. This can be aided by space, critique and
finding ways to see your work through fresh
eyes.
From there, revision becomes about consciously
changing what is on the page.

4. Revision questions (p. 208)
Why should the reader turn from the first page to
the second? In other words, have you introduced
tension? Should the story start somewhere else?
Is there unnecessary summary?
Where is it too long?
Where is the story undeveloped?
Review the questions the chapter suggests and
ponder them for your story.

5. Theme
Theme refers to determining what your story is
“about.” Not what happens, but what your
ideas/emotions/abstraction your story is dealing
with.
Theme isn’t inserted into your story—it’s been
there all along and reflects what you, as a writer,
have been compelled by, perhaps unconsciously.
But theme isn’t just “love” or “hate” or “war.” It is
a more specific query.

6. Questions for theme (p.
213)
What does this story say about what it’s about?
What does it tell us about the idea or abstraction
that seems to be contained in it?
What attitudes or judgements does it imply?
How do the elements of fiction contribute to our
experience of those ideas and attitudes in the
story?

7. Technique and Theme
Once you have some ideas of the themes in your
story (or others’ stories), you can consider how
specific techniques contribute to the overall
piece.
For example, a story whose theme is that love
will never last that takes place somewhere that is
always sunny is different than one that takes
place somewhere with a lot of rain. The choices
you make as a writer about characterization,
sense of place, language etc., can enhance and
work with your theme.

8. Technique and Theme
Read Burroway’s description of her own revision
process from P. 214 to 221.
Do the changes Burroway made and her reasons
for doing so make sense?
What are some of the areas in your work in
progress you are pondering? What are some
solutions?

9. 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 fiction
as points of revision

10. Start Looking for Theme
Fiction should not 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 this 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.

11. Working with Theme
Theme in writing means that all the pieces—the
character’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?

12. 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 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. The cooking metaphor
from this chapter is a good one—look at one aspect, then
another. If you’re in the middle of a work in progress, and
there is more to come, that’s OK. Try the revision process
on what you have written.

13. More from the 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.
Readings: Giving a reading of your work helps you
participate in a literary community, but I have often found
(and have heard this from other writers as well) that
sometimes giving a reading of a work in progress can
inspire the writer to see the work in a different way and
figure out next steps.
All of these are steps to try to help you “re-see” your work.