Project 2012: Scene selection: what to throw and what to keep

One of the hardest things to learn when you start your revision is that your first draft is not a template.  Anything and everything can be changed, and in some cases must be changed to write the best story you can write.

When you’ve spent months (or years) drafting your work, written a hundred thousand words of prose, the thought of throwing those words away is frightening.  Of course it is.  You may feel, when facing the draft, that if you just tweak something here, alter a few sentences there, that the story will be “good enough”.

That is very rarely, if ever, the case.  There are writers out there who can produce a first draft that is good enough.  But let’s be honest here.  You’re not one of them, and neither am I.  And “good enough” is never going to stand up to “the best it can be.”  Tweaking leads to pasted-on solutions, band-aids of prose which might hold up for a while, but lose their grip and slip away under pressure.  And the pressure in this case is someone else’s eyes on your story.

So what are you afraid of?  Let me throw some fears out there.  You’re afraid that you have wasted your time writing these words.  You’re afraid that what you write the second time will be worse than the first.  You’re afraid that your love for the story will fall apart if you have to write it again. You’re afraid that if you start messing with the plot and characters your story will fall apart like a badly built house.

I say, let it fall.

All of these fears are valid, and also completely groundless.

1. I’ve wasted my time and my words.

Of course not.  Every word you write is part of you searching for the true story, the honesty that makes a story work.  If you didn’t write the wrong words in the first place, how would you know to look for the right ones?  Every word you write is part of learning what works and what doesn’t work.  And if it doesn’t work, you do it again.  But it is never a waste.  Waste is not writing them in the first place.

2. It will be worse the second time.

This one baffles me.  Are you telling me that you only ever had one idea?  That your inspiration has dried up and you are unable to have a creative thought ever again?  If that’s the case, you’ve probably got the wrong hobby.  Rewriting something is an opportunity to bring more creativity to the work.  Think of your first draft like a platform.  You can see a lot more from here, understand a lot more about the story world you are working in.  Now take that knowledge and build an even higher platform.

3. I will lose my love for the story.

I can only say from experience that rewriting stories makes me love them more.  Because I know they are better.  They read better, even to me.  Knocking off the rough edges makes them shiny, dazzling creatures that I want to release into the world for more people to love.  Writing is a labour of love, after all.

4.  My story will fall apart.

As I said before, let it.  Burn it.  From the ashes will rise a new story, bright and strong and bold like the phoenix.  (It’s late.  Deal with my cliches.) Seriously though, finding the holes in your story is not a bad thing.  It’s an opportunity to bring your creativity to work.  How can I fix this?  Once you start thinking about that, all sorts of wonderful ideas will surface that will lead you to, once again, greater insight into the truth of your story.

Face your fears, but don’t let them stop you.  Once you have finished your spreadsheet, or even as your are filling it in, start thinking about which scenes can stay, and which ones can go.  And when I say a scene can stay, I consider that to include revising the scene.

What can go, first pass

On your first read through with fresh eyes, you should be able to immediately identify those scenes that add nothing to the story.  Scenes that describe a character going from A to B.  Scenes full of introspection without change.  Scenes with no conflict (inner or outer).  Scenes where your plot has taken a side-street.

I like to call this first step Literary Liposuction.  You’re going through and removing the obvious flab from the story.

Put each scene through a quick fitness test in your head.  Is the character in conflict with someone or something or themselves?  Has the situation at the end of the scene changed from what it was at the beginning of the scene? Has either the plot or the character arc advanced in some way?

A simple way to do this is to summarise the scene in one sentence.  Bob wants custody of little Timmy but Jane refuses and they must go to court.  Michael needs to get into the building to rescue Anna and has to work out how to get past the guards.  Lucy is trying to reach Planet X but her ship malfunctions.  You get the picture.

If you find yourself writing something like this: “Bob has a conversation with Judy and there’s a lot of information about the boat plus they have drinks on the deck” then there’s a good chance that your scene is completely pointless.  If you can’t quickly identify the conflict and the outcome, then mark it for removal and move on.  Don’t go searching for meaning or you’ll tie yourself in knots.  This is all big picture stuff.  Losing a whole scene won’t matter.

But my WORDS!

Are just words.  There’s nothing you have written that is so blindingly brilliant that you can’t write it again, and better.  And often those little phrases that we fall in love with aren’t nearly as adored by other readers as they are by us.  So don’t get hung up on words and sentences.  Let them go.

What can go, second pass

A scene may pass the conflict test but still not be a good fit for your story.  But you won’t find that out until you start working with your plotline and your character arcs.  So the second cull of scenes usually happens when you are looking at your chapter/scene progression.  Usually something in these scenes will be preserved, whether it’s the main conflict or an event that impacts on your character.  Make a note of what needs to stay in your spreadsheet, but mark the scene for removal.

Now comes the fun part

Yes, there is a fun part to all this.  Because as you are reading through, you will find some truly awesome scenes.  Scenes you never even remember writing.  Scenes that you read with fresh eyes and go “wow”.  Scenes that make you want to punch the air in triumph and shout “I WROTE THIS!”  (Resist the urge.  It’s embarrassing, even at home.)  Finding these scenes really helps when you’ve just dumped 20,000 words from your manuscript.  Mark these scenes with a great big tick.  These scenes will usually be your big set pieces, your key moments of plot or character progression.

They will need revision, there’s no doubt about that.  But at least the bones of the scene are strong enough to hold up the story.  These scenes are the skeleton you will use to write the next draft. Copy all of these scenes into a new document and hit save.


You’ve just started Draft Two.  Level up, go get some more coffee and get ready for the next stage.

The View from the Narrative


Merrilee crept through the plot, ducking the twisted branches that threatened to entangle the fragile narrative she carried on her back.  A flock of adverbs fluttered heavily across the page.  With no foreshadowing, a minor villain appeared; throwing the readers into confusion.  Action was needed, and fast.

She drew the gun, hand shaking.  Her alpha reader’s comments came back to her; truthful, damning.   “Watch out.  You’ve got guns appearing out of nowhere.”

Behind the villain, she saw that the scene was weak and shaky.  She was angry at the situation.  She heard the narrative falter, then felt it start up again with a lurch.  Telling was choking the life out of it.  She looked over her shoulder.  There was only one way out of this exposition.

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