Revisions & Editing Workshop

If you missed my workshop with OCLS at the Downtown location, here is a chance to grab a copy of the PDF and/or PowerPoint Show. It was a heavy 2-hour course and we covered a lot of content and questions to help guide your revision efforts. Be sure to “enable outside links” since this does contain 3 YouTube videos. Just in case, I will add those down below and explain what they reflect. Thank you to all who came out to attend and I hope the advise has helped you in your efforts to polish your writing and story to its very best.

PDF: https://www.dropbox.com/s/iwt1mhvkfi25zqv/Revising%20and%20Editing%20WS.pdf?dl=0 

PowerPoint Show:  https://www.dropbox.com/s/2hu4f5osm2rp829/Revising%20%5EL0%20Editing.ppsx?dl=0

Other Posts That May Help

The Videos

Inside this PowerPoint I shared with the room three videos for vital reasons. In case they fail to show up or you were curious as to why I chose these, here are the reflections and links of said videos.

Squint’s Big Plan from the movie Sandlot

  • Don’t tell us, SHOW us. Despite having access to a Narrator, they chose not to TELL us Squint can’t swim.
  • Used Environment, Character, and Secondary Characters to signal audience something is not right.
  • Used dialogue exchange in lieu of telling us directly.

MaLynne’s Outburst from the movie Steel Magnolias

  • Make sure ALL your characters are reacting to an event in some way.
  • Reflect how that will change the character(s) later on.
  • Here MaLynne voices both her own and the audience’s feelings through her reaction and dialogue.
  • Weeza, a nasty negative character throughout the story becomes essential to why the writer has kept her in the foreground. Every character in your story should have a role or purpose!
  • Claire, the comic relief in many areas of the story provides a last ditch effort for both the main character and audience/reader using Weeza as a new focus point.
  • They are showing the reactions and not telling us the characters are “sad” or “in mourning” and putting us in the unfolding of the emotions.
  • Note as the moment becomes more intense, the sentences become much shorter.

Narrative Mechanics by ExtraCredits

  • Slow down and refocus.
  • Trim out anything that bogs down the message or the main focus of your story.
  • Some times simplifying the story can make it stronger.
  • A great example of bringing the concept to a smaller, more intimate level via the game Missile Command.
  • You should know what emotions and situations you want both your character and reader to feel via the events and plot of your story. If not, sit down and simplify/refocus your aim and use that as a guide for revisions.

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