The first draft is always the hardest (and why you shouldn’t fear starting over)

From Nathan Bransford:

Early in my writing career, there was little I feared more than having to rewrite any part of my novels.

I agonized over scenes so they were “perfect” the first time. I obsessively saved and re-saved anything I wrote and made sure multiple backup copies existed lest a laptop theft or fire destroy my hard work. Every time I received an edit, I peeked through my hands at the editorial letter until I saw I was safe from having to go back to the drawing board.

Now? I’ve written a placeholder opening for my new novel that’s just standing in for a better one I’ll think up later. I pressed forward on some scenes I know will be cut just to see how some ideas work on the page. I know when I’m finished I’m going to rewrite the whole thing with whatever voice I’ve crystalized by the end.

Here’s what accounts for my change in approach: I’ve learned that rewriting a novel is almost always much easier than you think it’s going to be.

The first draft is phenomenally difficult

Pushing forward on a new novel is extremely hard. Just ridiculously, mind-bogglingly hard.

It’s like trying to run a race in three or four directions at once. You’re getting to know the characters. You’re fleshing out the setting. You’re trying to see if the events you have in mind are going to work once they hit the page. You’re trying to find the voice. You’re weaving together plots and subplots. All at the same time.

Maybe your novel will spring forth in its ideal form and all of these elements will magically weave together in perfect harmony.

Good luck.

Instead, even if you write slowly and carefully, chances are you’re going to muddle through. You always have work to do when you’re finished.

And sometimes you’ll have a ton of work to do. Particularly after you confront a daunting editorial letter, sometimes you’ll need to go back and rewrite the whole thing mostly from scratch.

But take it from me: starting over isn’t something to fear.

Don’t be afraid to start over

One of the absolute most important qualities that stratifies authors between great and mediocre or worse is a willingness to confront weaknesses, bite the bullet, and do what’s necessary to improve your work. Even if that means completely scrapping what you’ve written and starting over.

Does this sound terrifying to you? Take heart: Nothing is lost.

Even if you have written a steaming pile of seemingly unusable garbage, the plot makes little sense, nothing fits together, and you are going back to Chapter 1, Scene 1 to rewrite the whole shebang, you’re not really starting from scratch.

Chances are you’ve learned a ton about the characters, the setting, the voice, and the plot. Even if your knowledge is mostly about what doesn’t work with the plot, that knowledge is phenomenally useful. Rather than trying to accomplish every single thing all at once, like you are with a first draft, you’ll be able to focus on one or two key things. It’s a huge advantage.

Every time I’ve gone back to the well for a substantial rewrite, I dreaded it like you wouldn’t believe, then wound up astonished how much easier it was to complete than I thought it was going to be.

You feel like you can “get above it” and see the forests from the trees. Scenes flow. The characters pop.

Rewriting is nothing like a first draft. It feels like you’re writing with a jetpack.

Link to the rest at Nathan Bransford

3 thoughts on “The first draft is always the hardest (and why you shouldn’t fear starting over)”

  1. If you learn to trust yourself and your creative subconscious, you will see the “Scenes flow [and t]he characters pop.” I would never allow my conscious, critical mind to alter what actually happened in the story that my characters, not I, are living. In the ‘real world’ it’s trusting your neighbors’ account of their trip to Zambia instead of correcting them as they’re conveying it.

    • Yep.

      Now, the background might need shoring up when you reread for final — fleshing out the physical/cultural setting gets better once you’ve lived in it for a while.

      Characters, on the other hand… You may have started out with a placeholder cast “teen rebel”, “wounded hero”, etc.) but you should play the hand you’ve dealt. Those characters grow and deepen as you “story” them, but the drive should come from them, not from your critical planning.

      If that planning doesn’t work the way you intended, change your intent or modify the plan.

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