Last Updated: May 20, 1999
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Good writing
Remember: Good writing is rewriting
By Kevin McGrath
Ask any copy editor or line editor: Revision is easily the most neglected
part of the writing process.
Whether through laziness, hurriedness or the stigma of revision as scut
work, far too many writers leave their excess baggage in their stories
for others to cull. Many more craft a story that meanders vainly in search
of a point, or whose lead is buried in the middle, but never go back to
steer their prose on target.
That’s because many writers file not stories, but drafts. They think
their first try is their last try, or that their first try — checked for
style, spelling and grammar — makes for a complete story. In rare deadline
situations, it may. But by and large, such an attitude is folly because
it subjects the draft to the writer’s needs (clean it up, get it out),
not the reader’s (clarity and understanding).
The worst writers deny the awful truth that nobody produces perfection
on the first try; the best writers embrace it. The best writers revise,
then revise some more, then revise again.
They search their draft with a critical eye for the nuggets of meaning
and power, using the draft’s strengths to form a finished story that readers
will want to read, that’s clear, simple, focused and understandable.
They ask: What works? What needs work? What’s there? What’s missing?
What to accomplish
Here are a few hints for gauging your finished draft:
-
Focus — Are you conveying one dominant meaning, or are you simply emptying
the notebook? The reader will spot an unfocused story within the first
graf or two and turn the page. If you’re still feeling fuzzy at this stage,
ask yourself: What’s my point?
-
Shape — Does the story have a natural shape that best expresses it, and
can you refine it? Should it be the quick fact-telling of an inverted pyramid?
If you’re recounting a crime, should you employ the "police said it happened
like this" device of the champagne glass form? Do you have a narrative
begging to be told?
-
Read — Role-play the reader. A specific reader. Mom is a favorite for many
writers. Would she understand? Would she like it? Would she keep reading?
If not, what would make the story understandable and inviting?
-
Order — Do you order story items naturally? Does the information unfold
in pleasing way? If not, maybe you didn’t outline, and should do so now.
-
Develop — Do you need to do more reporting? Do you have Swiss cheese rather
than a story? What can you do in the time remaining?
-
Edit — Rene J. Cappon poses three useful questions in his landmark book
"The Word:" Have I said what I meant to say? Have I put it as concisely
as possible? Have I put things as simply as possible?
What to double-check
Once those concerns are addressed, turn to the finer points:
-
Word choice — Rely on nouns and verbs, not modifiers; make sure verbs are
active; avoid cliches and jargon; be sure your idiom is both appropriate
to the story and accurately employed: This is no time to be Yogi Berra,
unless you want to be funny.
-
Voice — Does the story’s voice arise from the story, or are you forcing
an artificial voice on it? Are you using humor to convey something serious
or even tragic? Are you telling a hilarious or evocative tale in a monotone?
Do you sound too flip when you should sound authoritative? Read it aloud
if you have to; rewrite not just with your mind, but with your ear.
-
Context — Events don’t just pop up on the radar screen; they have histories.
Are you conveying that sense to the reader? Are you explaining where the
story came from, and where it’s going?
-
Accuracy — Is your information accurate? Is it presented in an accurate
context?
-
Imagery — When you use imagery (quiet as a still sea, for example), is
it appropriate to the story’s meaning, or does it force the mind to stretch
for a connection?
-
Ending — Have one when you start. It gives the story a sense of closure.
And it can guard against unnecessary trimming. But don’t be fooled: Even
the best ending can’t make up for a flabby opening or midsection -- the
sort of inexactness produced by sloppy reporting.
Make the time
The essence of revision is to realize that is isn’t an extra piece of
work tacked onto the end of your day; it’s where the payoff for your hard
work comes, where you make it sing.
The problem, in newspapers, is that revising time isn’t handed to you;
you have to make it. On deadline and off.
If you aren’t doing so now, start. You may find yourself opening the
door to a level of quality you haven’t achieved before.
You’ll also produce what we’re in business for: better stories.
McGrath is the writing coach for The Times of Munster, Ind. Call
him at 800/837-3232, ext. 3239 or
e-mail him at mcgrath@howpubs.com
