April 22, 2025 • 30 mins
Congratulations! You've finished writing your first draft—an achievement that puts you ahead of countless aspiring writers who never make it past the dreaming stage.
But now you're staring at your manuscript, wondering, "What next?"
Maybe you've tried jumping straight into revisions only to find yourself overwhelmed, confused, or just plain stuck. Or maybe you’re just avoiding it altogether.
If your excitement about finishing your draft has given way to editing anxiety, you're not alone. Every author—even the most seasoned professionals—reaches this crossroads, where the path forward seems foggy at best.
Tune in to learn the exact novel editing framework that has helped my clients and students transform their messy drafts into completed manuscripts.
You’ll hear me talk about things like:
- [06:21] The game-changing approach to organizing your editing notes that’ll prevent months of wasted time and getting stuck in "revision loops"
- [07:17] How mapping what you actually wrote (not what you intended to write) can expose the hidden strengths and weaknesses of your manuscript
- [10:05] The #1 mistake first-time novelists make when editing their messy first drafts (and how to avoid falling into this all too common trap)
- [16:05] The four-category sorting system that helps you prioritize feedback and make confident decisions about which changes to implement
- [23:22] How your publishing path impacts your editing to-do list (and which steps to take if you’re self-publishing or traditional publishing)
If you've finally finished your first draft but find yourself paralyzed by the editing process, or if you've been revising the same chapters for months without making real progress, this episode gives you the clear, structured approach you need.
🔗 Links mentioned in this episode:
- Novel Editing Roadmap: 10 Steps To Editing Your First Draft (Free Guide)
- Want my entire step-by-step process for brainstorming, outlining, and writing your first draft? Click here to learn more about my Notes to Novel program.
⭐ Follow & Review
If you loved this episode, please take a moment to follow the show and leave a review on Apple Podcasts! Your review will help other writers find this podcast and get the insights they need to finish their books. Thanks for tuning in to The Fiction Writing Made Easy Podcast! See you next week!
Click here to register for my FREE training: 3 Things You Need to Write Your Novel in 2025.
👉 Looking for a transcript? If you’re listening on Apple Podcasts or Spotify, scroll down below the episode player until you see the transcript.
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
you can't state in one sentence exactly what a
scene accomplishes and why it'simportant to your story, then
that is a major red flag.
The most powerful scenes arethose that advance the plot,
reveal character and reinforcethe theme all at once.
So just a little helpfulchecklist as you go through each
of your scenes.
You'll want to polish yourscenes for maximum impact in
(00:21):
your third draft.
Welcome to the Fiction WritingMade Easy podcast.
My name is Savannah Gilbo andI'm here to help you write a
story that works.
I want to prove to you thatwriting a novel doesn't have to
be overwhelming, so each week,I'll bring you a brand new
episode with simple, actionableand step-by-step strategies that
(00:42):
you can implement in yourwriting right away.
So whether you're brand new towriting or more of a seasoned
author looking to improve yourcraft, this podcast is for you.
So pick up a pen and let's getstarted.
In today's episode, I'm sharingmy 10-step process for turning
your messy first draft into amanuscript you'll be proud to
share.
Now, if you're listening tothis episode and you've just
(01:04):
finished your first draft,congratulations are in order,
because this puts you ahead ofmany, many aspiring authors who
never make it this far.
So this is a hugeaccomplishment, and I hope you
take some time to celebrate, ifyou haven't already.
Now, although finishing yourfirst draft is really exciting,
it could also be overwhelmingand anxiety-inducing as well,
(01:25):
because at some point, mostauthors will find themselves
looking at their manuscriptswondering now what?
What should I do next?
And that's exactly what we'regoing to cover in today's
episode.
But before we get into those 10steps, I want to talk about
something really important, andthat is, before you dive into
your revisions, I want you totake a break away from your
(01:46):
manuscript, and the simplereason for this is that your
manuscript needs time to settlein your mind.
So I recommend stepping awayfor at least two weeks,
preferably a month, because thatwill give you the mental
distance necessary to return toyour manuscript with fresh eyes.
This will also allow you toapproach your story as a reader
rather than as the creator, whoknows every single plot twist
(02:09):
and every character motivationby heart.
So once you've given yourselfthat necessary breathing room,
then it's time to get to work.
So let's walk through 10manageable steps that will help
you go from messy first draft toa manuscript you're proud to
share.
And I want you to pay specialattention to step four, because
it's arguably the most crucialpart of the editing process that
(02:31):
most writers skip.
It's kind of like the secretweapon to making your revision
process smoother rather thanchaotic.
So pay special attention tostep four.
Also, I wanted to mention thatwe're going to cover a lot in
today's episode, so I've createda free PDF guide of everything
we're going to talk about today,all so that you don't have to
take notes as you listen.
(02:51):
You can grab this free guide atsavannagilbocom forward slash
edit.
So one more time, that'ssavannagilbocom forward slash
edit.
This guide will be yourcompanion as you turn your messy
first draft into a story thatyou're proud of.
So, with that being said, let'sgo ahead and dive right into
step number one.
Step one is to shift yourmindset from author to editor.
(03:13):
Now, editing requires acompletely different mindset
than writing, so the very firststep before you touch a single
word, is to get in the rightheadspace.
When drafting your novel, youare creating, so you are letting
ideas flow organically, gettingto know your characters and
allowing your story to unfold ona scene-by-scene basis.
Editing, however, is analytical.
(03:34):
You're examining what you'vecreated, determining what works
and what doesn't work, andmaking strategic decisions about
changes.
A lot of writers struggle withthis transition because they
remain emotionally attached totheir words, so they resist
cutting beautiful passages thatdon't serve the story or they
hold on to characters thatreally need to be reimagined.
(03:55):
But here's the thing that manyfirst-time writers don't know
Great stories are made inrevisions, and what I mean by
that is that a brilliant ideathat's poorly executed remains
just that so it's brilliant, butpoorly executed.
On the other hand, a solid ideathat's expertly refined through
editing can become somethingextraordinary.
(04:16):
And if you consider the booksthat you love, they did not
arrive in the world fully formedand perfect.
They were sculpted throughmultiple rounds of feedback and
careful revision.
So the same is true for yourbook.
Now a little pro tip somethingthat can help in this stage of
the process is to create aphysical ritual that helps you
transition from writer to editormode.
(04:38):
So something as simple aschanging your workspace, putting
on your favorite playlist orlighting a candle can signal to
your brain that it's time toshift from writer to editor.
Okay, so that is step one shiftyour mindset from author to
editor.
Step number two is to read yourentire draft without making
edits.
So, now that you have youreditor's mindset in place, it's
(05:01):
time to read your entiremanuscript, from start to finish
, but with a catch there is noediting allowed, and the reason
I say this is because reading itwithout editing it will allow
you to experience your story asa whole, much like your future
readers will, and this type ofperspective is going to reveal
the forest instead of just theindividual trees.
(05:23):
Many major problems in novelsaren't obvious when you're
focused on the individualsentences or scenes, but they
become really apparent when youexperience the complete
narrative flow.
Now, this is a step that manyfirst-time authors will want to
skip, and they will just diveright into their edits too soon,
fixing comma splices andreworking sentences and pulling
(05:44):
out their thesaurus beforethey've even assessed their
overall story, and this is a bigmistake.
It's this kind of piecemealapproach that will lead to
wasted effort when you discoverlater on that entire sections of
your story need to be cut orcompletely rewritten.
So here is what I recommenddoing I want you to print out
your manuscript, if possible, orexport it to a different format
(06:08):
, like a PDF or any kind ofe-reader.
The goal of changing formatslike this is to make it as
difficult as possible for you toedit as you go, and it forces
you to simply experience thestory as a reader would.
Now, although I don't recommendediting while you read, I do
recommend making note of yourgut reactions.
So where you're confused, whereyou're bored, excited or
(06:31):
emotionally moved, these are allgreat notes and these
instinctive responses are gold,because they're exactly what
your future readers willexperience.
Now, a little pro tip here iswe don't want to just trust our
memory for these gut reactionsor any kind of notes we want to
take right Again, the insightsthat you'll gain during this
read-through are going to beeasily forgotten if you don't
(06:54):
capture them immediately.
So a simple coding system likeP for plot issues or C for
character problems can help youorganize your thoughts without
interrupting your reading flow.
If you're working with pen andpaper, you can also use
different colored highlightersor pens for this exercise as
well.
Okay, so that is step two readyour entire draft without making
(07:16):
edits.
Step three is to create areverse outline to map what you
actually wrote.
So, with your completedread-through and your notes in
hand, the next step is to createa reverse outline of your
manuscript, and a reverseoutline is exactly what it
sounds like A scene-by-sceneoutline of your entire story,
created after you've written it.
(07:36):
So think of it like outliningin reverse.
Now, unlike the outline youmight have created before
writing, if you even outlined atall a reverse outline reflects
exactly what you wrote in yourdraft, and this step is
important because it helps toreveal the true structure of
your story rather than the onethat you intended or imagined.
(07:56):
Because here's the thing eventhe most detailed plotters
discover their stories evolvedduring drafting, and often in
ways they didn't consciouslyrecognize.
So a reverse outline willexpose these changes, for better
or for worse.
Now here's an example of what Imean.
A few years ago, I worked with amystery author who couldn't
figure out how to make her storywork the way she wanted it to.
(08:18):
She had enlisted the help ofseveral beta readers, and
although they thought her plotwas entertaining and her
characters were well written,they felt like the big reveal
came out of nowhere at the end.
So the first thing I had her dowhen we started working
together was to create a reverseoutline of her story, and then
I asked her to track the cluesand red herrings throughout that
(08:39):
outline.
So what she discovered is thatthere was a gap of about 200
pages between where the clue wasfirst mentioned and the big
reveal.
And she hadn't been able toidentify this issue before
because she was so in the weedsof her story.
And this is something I seehappen all the time, but
especially with first-timeauthors.
And this is why reverseoutlines are so powerful they
(09:01):
reveal things you can't seebecause you're too close to your
story.
So here's what I want you to dowhen creating your reverse
outline focus on capturing whateach chapter or scene actually
accomplishes, rather than whatyou intended it to do.
You might be surprised at allthe disconnects that you
discover.
Now, a little pro tip is that areverse outline does not have to
(09:22):
be complicated.
Even just jotting down the mainpurpose of each scene on an
index card can reveal structuralissues that might otherwise
have taken months to identify.
Remember that the goal is tosee your story from above like
more of that 10,000 foot view,and not to create more work for
yourself.
So you can keep it simple.
It does not have to becomplicated.
(09:43):
All right.
So that is step number threecreate a reverse outline to map
what you actually wrote.
Step number four is to createyour strategic revision plan.
So now that you have a reverseoutline of your entire story,
and now that you've identifiedthe actual structure and
progression of the draft you'vewritten, it's time to create a
strategic plan for executingyour revisions.
(10:05):
Now, editing without a plan islike renovating a house by
randomly tearing down wallswithout considering the overall
structure.
You might fix one issue whilecreating three new ones, but a
strategic approach ensures thatyour changes enhance the whole
thing rather than just patchingindividual problems.
So in my notes to novel course,I teach students to focus on
(10:27):
different things at differenttimes, and here's exactly what I
recommend Story level issuescome first, so you want to fix
the foundation before decoratingthe rooms.
Scene level issues come next,so you want to make sure that
each brick is solid beforepolishing it.
And then page-level issues comelast.
And that's because there's nopoint in perfecting prose that
(10:48):
might later get cut.
Now, attempting to edit withoutthis kind of plan or without
addressing the big picture issuefirst is the single biggest
mistake I see writers make.
They spend weeks perfectingsentences in chapters that
ultimately need to be completelyrewritten or cut.
So don't let this be you.
Now a little pro tip here youcan look for changes that will
(11:10):
create a sort of ripple effectthroughout your manuscript, aka
the changes that will naturallycascade and fix multiple issues
at once.
For example, implementing achange to your protagonist's
motivation can fix dozens ofscenes that previously felt off
but you couldn't figure out why.
Okay, so that is step numberfour create your strategic
(11:30):
revision plan.
All right, step number five isto execute the big picture story
level edits for your seconddraft.
So, now that you have a detailedrevision plan, this essentially
becomes your roadmap as youtackle the first and most
critical phase of editingaddressing the big picture story
level concerns in your seconddraft.
Think of these big pictureedits as adjusting the
(11:52):
foundation and framework of ahouse.
If these elements aren't solid,then no amount of decorating or
fine finishing work will makethe structure sound.
So, to get started, considerthe following questions.
Number one does my plot creategenuine momentum from beginning
to end?
Number two do my charactershave clear, consistent
motivations driving theiractions?
(12:13):
Number three what is my storyreally about beneath the surface
of the plot?
Number four are the stakes highenough to keep readers invested
?
And number five is the centralconflict in my story clear and
expressed on the page?
Now, during this editing phase,you'll be making the biggest and
most impactful changes to yourmanuscript.
(12:34):
Because of that, this is alsowhere you'll spend most of your
editing time and energy, and Iwant you to know that's
completely normal.
You'll also need to have thecourage to make big, bold
changes that might feelterrifying but will ultimately
elevate your story from good togreat.
So hang in there and, whateveryou do, don't skip this step.
(12:54):
Now a little pro tip don't tryto fix everything at once.
The most successful authors Iknow and have worked with do
multiple focused passes throughtheir manuscripts one for things
like character arcs, anotherfor plot structure and things
like that.
This kind of targeted approachwill help prevent overwhelm and
ensure that nothing slipsthrough the cracks.
(13:14):
Okay, so that's step numberfive.
You want to execute the bigpicture story level edits for
your second draft.
Now step number six is to getfresh eyes on your manuscript.
So, after completing yoursecond draft, with those
foundational story level changesin place, you've reached a
really important milestone and acrucial limitation.
(13:35):
No matter how skilled orexperienced you are, your
intimate knowledge of your storycreates inevitable blind spots,
and this is why you need to getoutside.
Feedback of your story createsinevitable blind spots, and this
is why you need to get outsidefeedback on your story before
moving forward.
As the creator of your story,you're never going to be able to
fully experience it the way areader will.
You know the character's secretmotivations, the plot twists
(13:55):
before they happen and thebackstory that isn't on the page
.
This intimate knowledge makesit impossible for you to judge
your manuscript with completeobjectivity.
As an example, I once workedwith an author who was convinced
her protagonist was sympatheticand relatable, but every beta
reader found the characterselfish and unlikable.
And this feedback, while it wasinitially painful, it allowed
(14:18):
her to make crucial characteradjustments that really
transformed readers' experienceof her novel and her protagonist
.
So, once you get to this stage,getting outside feedback can
help you identify issues thatyou'll never spot on your own,
while also confirming thestrengths that you might be
uncertain about.
And you really have two mainoptions for gathering feedback.
(14:38):
Number one is that you can workwith a developmental editor.
A professional developmentaleditor specializes in big
picture story elements.
They'll provide objective,expert feedback on your plot,
character, structure and themeand, in some cases, will even
help you make a plan for movingforward.
Now, while this is aninvestment, it can save you
countless hours of revision byidentifying issues that you
(15:01):
might never spot on your own.
Okay, so option one.
Option two is to work with betareaders.
Now, beta readers are peoplewho will read your manuscript
and provide feedback from areader's perspective, and your
ideal beta readers are peoplewho are familiar with your genre
, are honest but constructivewith their feedback, are
(15:22):
specific in their feedback andwho are reliable about deadlines
.
Okay, so that is option two.
You can work with beta readerson your story, and I'm going to
link to a past episode aboutworking with beta readers in the
show notes of this episode.
Now, a little pro tip here isthat you can create a specific
feedback questionnaire for yourbeta readers rather than just
asking them for generalimpressions, so you can include
(15:44):
questions that target areas thatyou're particularly concerned
about, but also a nice mix ofmaybe some open-ended questions
that might reveal issues youhadn't considered.
This kind of multi-layered,structural approach ensures that
you're going to get actionablefeedback rather than just vague
opinions.
Okay, so that is step six.
Get fresh eyes on yourmanuscript Now.
(16:05):
Step seven is to strategicallyincorporate feedback into your
revision plan.
So, assuming you have editorand or beta reader feedback in
hand, it's time to evaluate andintegrate these insights into
your next round of revisions,and this isn't about just
blindly accepting everysuggestion.
It's more about learning to seeyour work through others' eyes
(16:27):
and then making informeddecisions about any changes you
want to make.
So the key here is to sort andprioritize what you've received,
and I recommend thinking aboutthis in terms of four buckets.
So bucket number one are issuesyou must address, and these are
problems that multiple peopleidentified.
The second bucket is things youshould consider, so these are
(16:48):
issues that would probablystrengthen your story if you
implemented them.
In the third bucket, you'llhave things that you might
implement, so these aresuggestions that could enhance
certain elements, but you're notreally sure if you want to make
these changes or not.
And then in bucket number four,you'll have things that you
just don't want to change.
So maybe this is full offeedback that conflicts with
your vision for your story, orjust things that really didn't
(17:10):
hit the mark.
Okay, so I definitely recommendsorting and prioritizing the
feedback you've received.
Now, this stage often causes alot of anxiety, so you might get
feedback and you might feeldefensive about the criticisms
or overwhelmed by the volume ofsuggested changes, and either
way, just remember that youremain the ultimate authority on
(17:31):
your story.
So feedback is a tool, it's nota mandate.
Okay, and then, when it comestime to incorporate feedback,
focus on understanding what theunderlying issue is, rather than
the specific solution suggested.
So, for example, a beta readermight say your protagonist is
unlikable, that's the problem,right, and they might suggest
(17:52):
just making them nicer.
That is a solution, but itmight not be the right solution
for your story.
However, it is an issue worthconsidering nonetheless.
Now a little pro tip here ifyou need help interpreting
feedback or deciding whatfeedback you'll take action on,
this is where a book coach canreally come in handy, and a book
coach is someone who can helpyou sort through this feedback,
(18:14):
make a plan and then stayaccountable to your goals as you
work through revisions.
Now, the last little thing Iwant to say here is that at this
point, the feedback you'veintegrated should have
strengthened your story'sfoundation in a way that your
overarching plot and yourcharacter development works.
But you might find that there'sstill some work to be done on
the big picture, and that's okay.
(18:34):
You can take as much time asyou need here and don't be
afraid to repeat steps fivethrough seven as many times as
you need to before moving on.
Okay, so that is step sevenstrategically incorporate
feedback into your revision plan.
Now step number eight is topolish your scenes for maximum
impact in your third draft.
So at this stage your storyshould work on the big picture
(18:56):
level, and in this next round ofrevisions you're going to focus
on and examine the buildingblocks of your story, which are
the individual scenes.
So this is where you'll ensureeach scene works both as a
compelling single unit on itsown as well as a vital piece of
your overarching story.
And unlike story-level editing,which builds the foundation of
(19:18):
your story, scene-level editingtransforms a structurally sound
manuscript into an emotionallyengaging experience for the
readers.
So we're taking all the hardwork you've done already and
just making your story evenbetter.
And here's the thing you couldhave a story that has a strong
plot overall, but if it's fullof weak scenes, readers are
(19:38):
probably going to abandon ithalfway through or even earlier.
But when done properly, thisediting phase helps you create
that unputdownable quality thatreaders crave.
So again, you might have reallygreat characters and a
compelling plot overall, butreaders encounter your story
scene by scene.
So if these critical pieces ofyour story fall flat.
(19:59):
Readers aren't going to stickaround, regardless of how strong
your premise is.
So what this means is thatevery scene in your novel should
earn its place by servingmultiple purposes simultaneously
.
If a scene only does one thing,like deliver information, it's
probably going to feel flat toreaders.
So the question isn't just doesthis scene work?
(20:20):
But it's more like does thisscene work hard enough for your
story?
Okay, so let me give you anexample.
I once worked with an authorwhose manuscript had a really
compelling plot but feltemotionally distant, and during
scene-level editing wediscovered two things.
Number one, she was ending herscenes way too early, so right
after the action, but beforethat emotional impact could
(20:43):
register.
And then, number two, there washardly any interiority
throughout each scene.
Interiority throughout eachscene and adding interiority or
her character's thoughts andfeelings into every single scene
and adjusting where her scenesended to include brief emotional
beats really transformed theoverall reading experience and
made her story so much stronger.
Now a little pro tip if youcan't state in one sentence
(21:06):
exactly what a sceneaccomplishes and why it's
important to your story, thenthat is a major red flag.
The most powerful scenes arethose that advance the plot,
reveal character and reinforcethe theme all at once.
So just a little helpfulchecklist as you go through each
of your scenes.
All right, so that is stepnumber eight.
You'll want to polish yourscenes for maximum impact in
(21:28):
your third draft.
Now, step number nine is toperfect your prose in your
fourth draft.
So, having shaped your scenesinto effective story components,
your fourth draft brings you tothe most granular level of
editing perfecting your prose.
This is where you're going tobring your full attention to the
line by line craft elementsthat make your writing shine at
(21:49):
the sentence level.
So precise word choice, elegantsentence structures and the
rhythmic flow of well-craftedparagraphs.
In other words, this is yourchance to unleash your unique
voice and bring crystal clearclarity to your ideas.
I know a lot of writers who findthis stage the most satisfying,
because it's where manuscriptsoften transform from good story
(22:11):
with adequate writing to goodstory with excellent writing.
However, it's also whereperfectionism can cause you to
get stuck and keep you in thisspiral of endlessly polishing
the same paragraphs and passagesover and over.
So just something to keep alookout for.
Now, a little pro tip if youwant to instantly improve your
prose.
(22:31):
Something that can really helpis to read your work out loud,
and that's because your earswill catch issues that your eyes
miss every single time.
Awkward phrasing, repetitivewords and unnatural dialogue
become super obvious when spokenout loud.
Okay, so just a little pro tip,and that is step number nine.
You want to perfect your prosein your fourth draft.
(22:51):
Now.
Step number 10 is to choose yourpublishing path and execute
your final polishing steps.
So, after refining yourmanuscript through multiple
drafts, you've reached a reallysignificant decision point,
determining your publishing path.
And this decision carriesparticular weight because
publishing isn't just aboutgetting your book out into the
(23:12):
world.
It's about finding the rightway to connect your story with
readers, and the publishing paththat you choose should align
with your specific goals and thetype of book you've written.
But here's what many first-timewriters don't know the
publishing path that you choosewill also determine what
additional editing steps you'llneed to take from this point
forward.
So let's break that down intotwo main options that you're
(23:35):
going to take from this point.
If you're pursuing traditionalpublishing, you might be ready
to begin querying literaryagents after completing the page
level edits we just went overin step nine.
If you choose to take this path, you're going to need a
polished manuscript, acompelling query letter and a
synopsis.
If an agent signs you and sellsyour book to a publisher, your
(23:57):
manuscript will undergoadditional rounds of editing
with a professional editor atthe publishing house.
That publisher will typicallyhandle developmental editing,
line editing, copy editing andproofreading as a part of their
process.
In this scenario, you will notneed toreading as a part of
their process.
In this scenario, you will notneed to invest in these
additional editing servicesyourself.
Okay, so that is if you're goingthe traditional publishing
(24:19):
route.
Now, if you're self-publishing,this is going to require you to
manage and invest in severaladditional editing stages.
So number one is line editing,and a line editor will help you
refine your prose, improve flowand enhance your unique voice,
while maintaining clarity andreadability.
Number two is copy editing, anda copy editor will correct your
(24:41):
grammar, punctuation andspelling and ensure consistency
in style.
So things like character names,timeline formatting, etc.
And then number three isproofreading.
So this is that final polishbefore publication which helps
you catch any remaining typos orformatting issues that slip
through earlier rounds ofediting.
Okay, so if you're going theself-publishing route, just know
(25:03):
that this option is going torequire you to again manage and
invest in several additionalediting stages.
Now a little pro tip.
The publishing landscape hastransformed dramatically in
recent years, creating moreopportunities and more confusion
than ever before.
What worked for authors fiveyears ago might not be the best
(25:23):
strategy today and especiallymight not be the best strategy
for you.
So do your research beforecommitting to any publishing
path and remember that the rightpublishing path for you.
So do your research beforecommitting to any publishing
path and remember that the rightpublishing path for you should
align with your goals and thetype of book you've written.
All right, so that is stepnumber 10.
Choose your publishing path andthen execute the final
polishing steps according to thepath you've chosen.
(25:45):
Now, before I let you go, I wantto remind you about a few
things.
Number one is that there's aPDF guide of everything we
talked about in today's episode,all ready for you so that you
don't have to take notes orre-listen to this episode a
bunch of times.
You can get your hands on thatat savannahgilbocom forward
slash edit.
It's totally free and I willemail a copy straight to your
(26:05):
inbox.
So one more time, that'ssavannahgilbobocom forward slash
edit.
Now the second thing I want totell you is that the 10 steps we
just went over, let thosebecome your roadmap for
navigating the complex journeyof editing your messy draft.
I know, at this point, ifyou're about to edit your
manuscript, you might feelexcited and also very
overwhelmed.
(26:25):
Just remember that almost everysingle author who has ever
published a book has stood whereyou're standing now, staring at
a first draft and wondering howto make it into something truly
special.
The 10 steps that we wentthrough today give you a roadmap
to follow that breaks down theoverwhelming task of editing a
novel into smaller, moremanageable pieces, and each step
(26:47):
builds on the one before it,guiding you through the process
from start to finish pieces.
And each step builds on the onebefore it, guiding you through
the process from start to finish.
Above all, just remember to bepatient with yourself and trust
the process.
Some days are going to bringreally cool breakthroughs and
others will feel like you'retaking steps backwards.
This does not mean there'sanything wrong with you or your
story.
It's just how the editingprocess goes.
(27:07):
So take a deep breath, schedulethat first, break away from
your manuscript and prepare forthe rewarding work of turning
your draft into the book it'smeant to be.
So that's it for today's episode.
As always, thank you so muchfor tuning in and for showing
your support.
If you want to check out any ofthe links I mentioned in this
(27:27):
episode, you can find them inthe show notes listed in the
description of each episodeinside your podcast player or at
savannahgilbocom forward slashpodcast.
If you're an Apple user, I'dreally appreciate it if you took
a few seconds to leave a ratingand a review.
Your ratings and reviews tellApple that this is a podcast
that's worth listening to and,in turn, your reviews will help
(27:48):
this podcast get in front ofmore fiction writers just like
you.
And while you're there, goahead and hit that follow button
, because there's going to beanother brand new episode next
week, full of actionable tips,tools and strategies to help you
become a better writer.
So I'll see you next week anduntil then, happy writing.
you can't state in one sentence exactly what a
scene accomplishes and why it'simportant to your story, then
that is a major red flag.
The most powerful scenes arethose that advance the plot,
reveal character and reinforcethe theme all at once.
So just a little helpfulchecklist as you go through each
of your scenes.
You'll want to polish yourscenes for maximum impact in
(00:21):
your third draft.
Welcome to the Fiction WritingMade Easy podcast.
My name is Savannah Gilbo andI'm here to help you write a
story that works.
I want to prove to you thatwriting a novel doesn't have to
be overwhelming, so each week,I'll bring you a brand new
episode with simple, actionableand step-by-step strategies that
(00:42):
you can implement in yourwriting right away.
So whether you're brand new towriting or more of a seasoned
author looking to improve yourcraft, this podcast is for you.
So pick up a pen and let's getstarted.
In today's episode, I'm sharingmy 10-step process for turning
your messy first draft into amanuscript you'll be proud to
share.
Now, if you're listening tothis episode and you've just
(01:04):
finished your first draft,congratulations are in order,
because this puts you ahead ofmany, many aspiring authors who
never make it this far.
So this is a hugeaccomplishment, and I hope you
take some time to celebrate, ifyou haven't already.
Now, although finishing yourfirst draft is really exciting,
it could also be overwhelmingand anxiety-inducing as well,
(01:25):
because at some point, mostauthors will find themselves
looking at their manuscriptswondering now what?
What should I do next?
And that's exactly what we'regoing to cover in today's
episode.
But before we get into those 10steps, I want to talk about
something really important, andthat is, before you dive into
your revisions, I want you totake a break away from your
(01:46):
manuscript, and the simplereason for this is that your
manuscript needs time to settlein your mind.
So I recommend stepping awayfor at least two weeks,
preferably a month, because thatwill give you the mental
distance necessary to return toyour manuscript with fresh eyes.
This will also allow you toapproach your story as a reader
rather than as the creator, whoknows every single plot twist
(02:09):
and every character motivationby heart.
So once you've given yourselfthat necessary breathing room,
then it's time to get to work.
So let's walk through 10manageable steps that will help
you go from messy first draft toa manuscript you're proud to
share.
And I want you to pay specialattention to step four, because
it's arguably the most crucialpart of the editing process that
(02:31):
most writers skip.
It's kind of like the secretweapon to making your revision
process smoother rather thanchaotic.
So pay special attention tostep four.
Also, I wanted to mention thatwe're going to cover a lot in
today's episode, so I've createda free PDF guide of everything
we're going to talk about today,all so that you don't have to
take notes as you listen.
(02:51):
You can grab this free guide atsavannagilbocom forward slash
edit.
So one more time, that'ssavannagilbocom forward slash
edit.
This guide will be yourcompanion as you turn your messy
first draft into a story thatyou're proud of.
So, with that being said, let'sgo ahead and dive right into
step number one.
Step one is to shift yourmindset from author to editor.
(03:13):
Now, editing requires acompletely different mindset
than writing, so the very firststep before you touch a single
word, is to get in the rightheadspace.
When drafting your novel, youare creating, so you are letting
ideas flow organically, gettingto know your characters and
allowing your story to unfold ona scene-by-scene basis.
Editing, however, is analytical.
(03:34):
You're examining what you'vecreated, determining what works
and what doesn't work, andmaking strategic decisions about
changes.
A lot of writers struggle withthis transition because they
remain emotionally attached totheir words, so they resist
cutting beautiful passages thatdon't serve the story or they
hold on to characters thatreally need to be reimagined.
(03:55):
But here's the thing that manyfirst-time writers don't know
Great stories are made inrevisions, and what I mean by
that is that a brilliant ideathat's poorly executed remains
just that so it's brilliant, butpoorly executed.
On the other hand, a solid ideathat's expertly refined through
editing can become somethingextraordinary.
(04:16):
And if you consider the booksthat you love, they did not
arrive in the world fully formedand perfect.
They were sculpted throughmultiple rounds of feedback and
careful revision.
So the same is true for yourbook.
Now a little pro tip somethingthat can help in this stage of
the process is to create aphysical ritual that helps you
transition from writer to editormode.
(04:38):
So something as simple aschanging your workspace, putting
on your favorite playlist orlighting a candle can signal to
your brain that it's time toshift from writer to editor.
Okay, so that is step one shiftyour mindset from author to
editor.
Step number two is to read yourentire draft without making
edits.
So, now that you have youreditor's mindset in place, it's
(05:01):
time to read your entiremanuscript, from start to finish
, but with a catch there is noediting allowed, and the reason
I say this is because reading itwithout editing it will allow
you to experience your story asa whole, much like your future
readers will, and this type ofperspective is going to reveal
the forest instead of just theindividual trees.
(05:23):
Many major problems in novelsaren't obvious when you're
focused on the individualsentences or scenes, but they
become really apparent when youexperience the complete
narrative flow.
Now, this is a step that manyfirst-time authors will want to
skip, and they will just diveright into their edits too soon,
fixing comma splices andreworking sentences and pulling
(05:44):
out their thesaurus beforethey've even assessed their
overall story, and this is a bigmistake.
It's this kind of piecemealapproach that will lead to
wasted effort when you discoverlater on that entire sections of
your story need to be cut orcompletely rewritten.
So here is what I recommenddoing I want you to print out
your manuscript, if possible, orexport it to a different format
(06:08):
, like a PDF or any kind ofe-reader.
The goal of changing formatslike this is to make it as
difficult as possible for you toedit as you go, and it forces
you to simply experience thestory as a reader would.
Now, although I don't recommendediting while you read, I do
recommend making note of yourgut reactions.
So where you're confused, whereyou're bored, excited or
(06:31):
emotionally moved, these are allgreat notes and these
instinctive responses are gold,because they're exactly what
your future readers willexperience.
Now, a little pro tip here iswe don't want to just trust our
memory for these gut reactionsor any kind of notes we want to
take right Again, the insightsthat you'll gain during this
read-through are going to beeasily forgotten if you don't
(06:54):
capture them immediately.
So a simple coding system likeP for plot issues or C for
character problems can help youorganize your thoughts without
interrupting your reading flow.
If you're working with pen andpaper, you can also use
different colored highlightersor pens for this exercise as
well.
Okay, so that is step two readyour entire draft without making
(07:16):
edits.
Step three is to create areverse outline to map what you
actually wrote.
So, with your completedread-through and your notes in
hand, the next step is to createa reverse outline of your
manuscript, and a reverseoutline is exactly what it
sounds like A scene-by-sceneoutline of your entire story,
created after you've written it.
(07:36):
So think of it like outliningin reverse.
Now, unlike the outline youmight have created before
writing, if you even outlined atall a reverse outline reflects
exactly what you wrote in yourdraft, and this step is
important because it helps toreveal the true structure of
your story rather than the onethat you intended or imagined.
(07:56):
Because here's the thing eventhe most detailed plotters
discover their stories evolvedduring drafting, and often in
ways they didn't consciouslyrecognize.
So a reverse outline willexpose these changes, for better
or for worse.
Now here's an example of what Imean.
A few years ago, I worked with amystery author who couldn't
figure out how to make her storywork the way she wanted it to.
(08:18):
She had enlisted the help ofseveral beta readers, and
although they thought her plotwas entertaining and her
characters were well written,they felt like the big reveal
came out of nowhere at the end.
So the first thing I had her dowhen we started working
together was to create a reverseoutline of her story, and then
I asked her to track the cluesand red herrings throughout that
(08:39):
outline.
So what she discovered is thatthere was a gap of about 200
pages between where the clue wasfirst mentioned and the big
reveal.
And she hadn't been able toidentify this issue before
because she was so in the weedsof her story.
And this is something I seehappen all the time, but
especially with first-timeauthors.
And this is why reverseoutlines are so powerful they
(09:01):
reveal things you can't seebecause you're too close to your
story.
So here's what I want you to dowhen creating your reverse
outline focus on capturing whateach chapter or scene actually
accomplishes, rather than whatyou intended it to do.
You might be surprised at allthe disconnects that you
discover.
Now, a little pro tip is that areverse outline does not have to
(09:22):
be complicated.
Even just jotting down the mainpurpose of each scene on an
index card can reveal structuralissues that might otherwise
have taken months to identify.
Remember that the goal is tosee your story from above like
more of that 10,000 foot view,and not to create more work for
yourself.
So you can keep it simple.
It does not have to becomplicated.
(09:43):
All right.
So that is step number threecreate a reverse outline to map
what you actually wrote.
Step number four is to createyour strategic revision plan.
So now that you have a reverseoutline of your entire story,
and now that you've identifiedthe actual structure and
progression of the draft you'vewritten, it's time to create a
strategic plan for executingyour revisions.
(10:05):
Now, editing without a plan islike renovating a house by
randomly tearing down wallswithout considering the overall
structure.
You might fix one issue whilecreating three new ones, but a
strategic approach ensures thatyour changes enhance the whole
thing rather than just patchingindividual problems.
So in my notes to novel course,I teach students to focus on
(10:27):
different things at differenttimes, and here's exactly what I
recommend Story level issuescome first, so you want to fix
the foundation before decoratingthe rooms.
Scene level issues come next,so you want to make sure that
each brick is solid beforepolishing it.
And then page-level issues comelast.
And that's because there's nopoint in perfecting prose that
(10:48):
might later get cut.
Now, attempting to edit withoutthis kind of plan or without
addressing the big picture issuefirst is the single biggest
mistake I see writers make.
They spend weeks perfectingsentences in chapters that
ultimately need to be completelyrewritten or cut.
So don't let this be you.
Now a little pro tip here youcan look for changes that will
(11:10):
create a sort of ripple effectthroughout your manuscript, aka
the changes that will naturallycascade and fix multiple issues
at once.
For example, implementing achange to your protagonist's
motivation can fix dozens ofscenes that previously felt off
but you couldn't figure out why.
Okay, so that is step numberfour create your strategic
(11:30):
revision plan.
All right, step number five isto execute the big picture story
level edits for your seconddraft.
So, now that you have a detailedrevision plan, this essentially
becomes your roadmap as youtackle the first and most
critical phase of editingaddressing the big picture story
level concerns in your seconddraft.
Think of these big pictureedits as adjusting the
(11:52):
foundation and framework of ahouse.
If these elements aren't solid,then no amount of decorating or
fine finishing work will makethe structure sound.
So, to get started, considerthe following questions.
Number one does my plot creategenuine momentum from beginning
to end?
Number two do my charactershave clear, consistent
motivations driving theiractions?
(12:13):
Number three what is my storyreally about beneath the surface
of the plot?
Number four are the stakes highenough to keep readers invested
?
And number five is the centralconflict in my story clear and
expressed on the page?
Now, during this editing phase,you'll be making the biggest and
most impactful changes to yourmanuscript.
(12:34):
Because of that, this is alsowhere you'll spend most of your
editing time and energy, and Iwant you to know that's
completely normal.
You'll also need to have thecourage to make big, bold
changes that might feelterrifying but will ultimately
elevate your story from good togreat.
So hang in there and, whateveryou do, don't skip this step.
(12:54):
Now a little pro tip don't tryto fix everything at once.
The most successful authors Iknow and have worked with do
multiple focused passes throughtheir manuscripts one for things
like character arcs, anotherfor plot structure and things
like that.
This kind of targeted approachwill help prevent overwhelm and
ensure that nothing slipsthrough the cracks.
(13:14):
Okay, so that's step numberfive.
You want to execute the bigpicture story level edits for
your second draft.
Now step number six is to getfresh eyes on your manuscript.
So, after completing yoursecond draft, with those
foundational story level changesin place, you've reached a
really important milestone and acrucial limitation.
(13:35):
No matter how skilled orexperienced you are, your
intimate knowledge of your storycreates inevitable blind spots,
and this is why you need to getoutside.
Feedback of your story createsinevitable blind spots, and this
is why you need to get outsidefeedback on your story before
moving forward.
As the creator of your story,you're never going to be able to
fully experience it the way areader will.
You know the character's secretmotivations, the plot twists
(13:55):
before they happen and thebackstory that isn't on the page
.
This intimate knowledge makesit impossible for you to judge
your manuscript with completeobjectivity.
As an example, I once workedwith an author who was convinced
her protagonist was sympatheticand relatable, but every beta
reader found the characterselfish and unlikable.
And this feedback, while it wasinitially painful, it allowed
(14:18):
her to make crucial characteradjustments that really
transformed readers' experienceof her novel and her protagonist
.
So, once you get to this stage,getting outside feedback can
help you identify issues thatyou'll never spot on your own,
while also confirming thestrengths that you might be
uncertain about.
And you really have two mainoptions for gathering feedback.
(14:38):
Number one is that you can workwith a developmental editor.
A professional developmentaleditor specializes in big
picture story elements.
They'll provide objective,expert feedback on your plot,
character, structure and themeand, in some cases, will even
help you make a plan for movingforward.
Now, while this is aninvestment, it can save you
countless hours of revision byidentifying issues that you
(15:01):
might never spot on your own.
Okay, so option one.
Option two is to work with betareaders.
Now, beta readers are peoplewho will read your manuscript
and provide feedback from areader's perspective, and your
ideal beta readers are peoplewho are familiar with your genre
, are honest but constructivewith their feedback, are
(15:22):
specific in their feedback andwho are reliable about deadlines
.
Okay, so that is option two.
You can work with beta readerson your story, and I'm going to
link to a past episode aboutworking with beta readers in the
show notes of this episode.
Now, a little pro tip here isthat you can create a specific
feedback questionnaire for yourbeta readers rather than just
asking them for generalimpressions, so you can include
(15:44):
questions that target areas thatyou're particularly concerned
about, but also a nice mix ofmaybe some open-ended questions
that might reveal issues youhadn't considered.
This kind of multi-layered,structural approach ensures that
you're going to get actionablefeedback rather than just vague
opinions.
Okay, so that is step six.
Get fresh eyes on yourmanuscript Now.
(16:05):
Step seven is to strategicallyincorporate feedback into your
revision plan.
So, assuming you have editorand or beta reader feedback in
hand, it's time to evaluate andintegrate these insights into
your next round of revisions,and this isn't about just
blindly accepting everysuggestion.
It's more about learning to seeyour work through others' eyes
(16:27):
and then making informeddecisions about any changes you
want to make.
So the key here is to sort andprioritize what you've received,
and I recommend thinking aboutthis in terms of four buckets.
So bucket number one are issuesyou must address, and these are
problems that multiple peopleidentified.
The second bucket is things youshould consider, so these are
(16:48):
issues that would probablystrengthen your story if you
implemented them.
In the third bucket, you'llhave things that you might
implement, so these aresuggestions that could enhance
certain elements, but you're notreally sure if you want to make
these changes or not.
And then in bucket number four,you'll have things that you
just don't want to change.
So maybe this is full offeedback that conflicts with
your vision for your story, orjust things that really didn't
(17:10):
hit the mark.
Okay, so I definitely recommendsorting and prioritizing the
feedback you've received.
Now, this stage often causes alot of anxiety, so you might get
feedback and you might feeldefensive about the criticisms
or overwhelmed by the volume ofsuggested changes, and either
way, just remember that youremain the ultimate authority on
(17:31):
your story.
So feedback is a tool, it's nota mandate.
Okay, and then, when it comestime to incorporate feedback,
focus on understanding what theunderlying issue is, rather than
the specific solution suggested.
So, for example, a beta readermight say your protagonist is
unlikable, that's the problem,right, and they might suggest
(17:52):
just making them nicer.
That is a solution, but itmight not be the right solution
for your story.
However, it is an issue worthconsidering nonetheless.
Now a little pro tip here ifyou need help interpreting
feedback or deciding whatfeedback you'll take action on,
this is where a book coach canreally come in handy, and a book
coach is someone who can helpyou sort through this feedback,
(18:14):
make a plan and then stayaccountable to your goals as you
work through revisions.
Now, the last little thing Iwant to say here is that at this
point, the feedback you'veintegrated should have
strengthened your story'sfoundation in a way that your
overarching plot and yourcharacter development works.
But you might find that there'sstill some work to be done on
the big picture, and that's okay.
(18:34):
You can take as much time asyou need here and don't be
afraid to repeat steps fivethrough seven as many times as
you need to before moving on.
Okay, so that is step sevenstrategically incorporate
feedback into your revision plan.
Now step number eight is topolish your scenes for maximum
impact in your third draft.
So at this stage your storyshould work on the big picture
(18:56):
level, and in this next round ofrevisions you're going to focus
on and examine the buildingblocks of your story, which are
the individual scenes.
So this is where you'll ensureeach scene works both as a
compelling single unit on itsown as well as a vital piece of
your overarching story.
And unlike story-level editing,which builds the foundation of
(19:18):
your story, scene-level editingtransforms a structurally sound
manuscript into an emotionallyengaging experience for the
readers.
So we're taking all the hardwork you've done already and
just making your story evenbetter.
And here's the thing you couldhave a story that has a strong
plot overall, but if it's fullof weak scenes, readers are
(19:38):
probably going to abandon ithalfway through or even earlier.
But when done properly, thisediting phase helps you create
that unputdownable quality thatreaders crave.
So again, you might have reallygreat characters and a
compelling plot overall, butreaders encounter your story
scene by scene.
So if these critical pieces ofyour story fall flat.
(19:59):
Readers aren't going to stickaround, regardless of how strong
your premise is.
So what this means is thatevery scene in your novel should
earn its place by servingmultiple purposes simultaneously
.
If a scene only does one thing,like deliver information, it's
probably going to feel flat toreaders.
So the question isn't just doesthis scene work?
(20:20):
But it's more like does thisscene work hard enough for your
story?
Okay, so let me give you anexample.
I once worked with an authorwhose manuscript had a really
compelling plot but feltemotionally distant, and during
scene-level editing wediscovered two things.
Number one, she was ending herscenes way too early, so right
after the action, but beforethat emotional impact could
(20:43):
register.
And then, number two, there washardly any interiority
throughout each scene.
Interiority throughout eachscene and adding interiority or
her character's thoughts andfeelings into every single scene
and adjusting where her scenesended to include brief emotional
beats really transformed theoverall reading experience and
made her story so much stronger.
Now a little pro tip if youcan't state in one sentence
(21:06):
exactly what a sceneaccomplishes and why it's
important to your story, thenthat is a major red flag.
The most powerful scenes arethose that advance the plot,
reveal character and reinforcethe theme all at once.
So just a little helpfulchecklist as you go through each
of your scenes.
All right, so that is stepnumber eight.
You'll want to polish yourscenes for maximum impact in
(21:28):
your third draft.
Now, step number nine is toperfect your prose in your
fourth draft.
So, having shaped your scenesinto effective story components,
your fourth draft brings you tothe most granular level of
editing perfecting your prose.
This is where you're going tobring your full attention to the
line by line craft elementsthat make your writing shine at
(21:49):
the sentence level.
So precise word choice, elegantsentence structures and the
rhythmic flow of well-craftedparagraphs.
In other words, this is yourchance to unleash your unique
voice and bring crystal clearclarity to your ideas.
I know a lot of writers who findthis stage the most satisfying,
because it's where manuscriptsoften transform from good story
(22:11):
with adequate writing to goodstory with excellent writing.
However, it's also whereperfectionism can cause you to
get stuck and keep you in thisspiral of endlessly polishing
the same paragraphs and passagesover and over.
So just something to keep alookout for.
Now, a little pro tip if youwant to instantly improve your
prose.
(22:31):
Something that can really helpis to read your work out loud,
and that's because your earswill catch issues that your eyes
miss every single time.
Awkward phrasing, repetitivewords and unnatural dialogue
become super obvious when spokenout loud.
Okay, so just a little pro tip,and that is step number nine.
You want to perfect your prosein your fourth draft.
(22:51):
Now.
Step number 10 is to choose yourpublishing path and execute
your final polishing steps.
So, after refining yourmanuscript through multiple
drafts, you've reached a reallysignificant decision point,
determining your publishing path.
And this decision carriesparticular weight because
publishing isn't just aboutgetting your book out into the
(23:12):
world.
It's about finding the rightway to connect your story with
readers, and the publishing paththat you choose should align
with your specific goals and thetype of book you've written.
But here's what many first-timewriters don't know the
publishing path that you choosewill also determine what
additional editing steps you'llneed to take from this point
forward.
So let's break that down intotwo main options that you're
(23:35):
going to take from this point.
If you're pursuing traditionalpublishing, you might be ready
to begin querying literaryagents after completing the page
level edits we just went overin step nine.
If you choose to take this path, you're going to need a
polished manuscript, acompelling query letter and a
synopsis.
If an agent signs you and sellsyour book to a publisher, your
(23:57):
manuscript will undergoadditional rounds of editing
with a professional editor atthe publishing house.
That publisher will typicallyhandle developmental editing,
line editing, copy editing andproofreading as a part of their
process.
In this scenario, you will notneed toreading as a part of
their process.
In this scenario, you will notneed to invest in these
additional editing servicesyourself.
Okay, so that is if you're goingthe traditional publishing
(24:19):
route.
Now, if you're self-publishing,this is going to require you to
manage and invest in severaladditional editing stages.
So number one is line editing,and a line editor will help you
refine your prose, improve flowand enhance your unique voice,
while maintaining clarity andreadability.
Number two is copy editing, anda copy editor will correct your
(24:41):
grammar, punctuation andspelling and ensure consistency
in style.
So things like character names,timeline formatting, etc.
And then number three isproofreading.
So this is that final polishbefore publication which helps
you catch any remaining typos orformatting issues that slip
through earlier rounds ofediting.
Okay, so if you're going theself-publishing route, just know
(25:03):
that this option is going torequire you to again manage and
invest in several additionalediting stages.
Now a little pro tip.
The publishing landscape hastransformed dramatically in
recent years, creating moreopportunities and more confusion
than ever before.
What worked for authors fiveyears ago might not be the best
(25:23):
strategy today and especiallymight not be the best strategy
for you.
So do your research beforecommitting to any publishing
path and remember that the rightpublishing path for you.
So do your research beforecommitting to any publishing
path and remember that the rightpublishing path for you should
align with your goals and thetype of book you've written.
All right, so that is stepnumber 10.
Choose your publishing path andthen execute the final
polishing steps according to thepath you've chosen.
(25:45):
Now, before I let you go, I wantto remind you about a few
things.
Number one is that there's aPDF guide of everything we
talked about in today's episode,all ready for you so that you
don't have to take notes orre-listen to this episode a
bunch of times.
You can get your hands on thatat savannahgilbocom forward
slash edit.
It's totally free and I willemail a copy straight to your
(26:05):
inbox.
So one more time, that'ssavannahgilbobocom forward slash
edit.
Now the second thing I want totell you is that the 10 steps we
just went over, let thosebecome your roadmap for
navigating the complex journeyof editing your messy draft.
I know, at this point, ifyou're about to edit your
manuscript, you might feelexcited and also very
overwhelmed.
(26:25):
Just remember that almost everysingle author who has ever
published a book has stood whereyou're standing now, staring at
a first draft and wondering howto make it into something truly
special.
The 10 steps that we wentthrough today give you a roadmap
to follow that breaks down theoverwhelming task of editing a
novel into smaller, moremanageable pieces, and each step
(26:47):
builds on the one before it,guiding you through the process
from start to finish pieces.
And each step builds on the onebefore it, guiding you through
the process from start to finish.
Above all, just remember to bepatient with yourself and trust
the process.
Some days are going to bringreally cool breakthroughs and
others will feel like you'retaking steps backwards.
This does not mean there'sanything wrong with you or your
story.
It's just how the editingprocess goes.
(27:07):
So take a deep breath, schedulethat first, break away from
your manuscript and prepare forthe rewarding work of turning
your draft into the book it'smeant to be.
So that's it for today's episode.
As always, thank you so muchfor tuning in and for showing
your support.
If you want to check out any ofthe links I mentioned in this
(27:27):
episode, you can find them inthe show notes listed in the
description of each episodeinside your podcast player or at
savannahgilbocom forward slashpodcast.
If you're an Apple user, I'dreally appreciate it if you took
a few seconds to leave a ratingand a review.
Your ratings and reviews tellApple that this is a podcast
that's worth listening to and,in turn, your reviews will help
(27:48):
this podcast get in front ofmore fiction writers just like
you.
And while you're there, goahead and hit that follow button
, because there's going to beanother brand new episode next
week, full of actionable tips,tools and strategies to help you
become a better writer.
So I'll see you next week anduntil then, happy writing.
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