Why redrafting is so important

What does the word 'redraft' mean? According to the Macquarie Dictionary (Revised Third Edition), ‘redraft’ means, ‘1. a second draft or drawing,’ and ‘3. to make a second draft of.’

It sounds simple enough but for writers, especially new writers, the idea of redrafting can be quite daunting and even leave them feeling defeated. Some spend weeks, months or even years completing their first draft, with the belief that nothing more needs to be amended. They’ve poured everything they have into it, so what more needs to be done? The shock of getting their manuscript back from an assessor, editor or beta readers regarding a redraft, can leave writers feeling disheartened or even frustrated. This doesn’t have to be the case.

Redrafting is a crucial part of the writing process and is not limited to manuscripts. Bloggers, advertisers, marketers and more, rely on redrafting to ensure what they are sending out to their readers and clients is as perfect as possible. I’m sure you’ve redrafted many times without even realising you’re doing it: sending an important email, updating your resume, writing evil cover letters, and so on. When we want our writing to be perfect, we fiddle with it. You can always tell when a piece of writing hasn’t been edited. The typos, bad grammar and repetition give this away. What this can also give away is the omission of redrafting.

Here is something I want you to think about: every book you have read that has been traditionally published (by a publisher, not self-published) is NOT the author’s first draft. Read this sentence again.

Whether it’s JK Rowling, Matthew Reilly or Stephen King, they have all gone through the process of redrafting. Let that sink in for a moment. Or, better yet, if you have a hardcopy of your favourite book, I want you to pick it up, open to a random page and read the first sentence or paragraph your eyes see. Read it a second time. There is a high chance that this section was redrafted.

So how can we accept redrafting as part of our own writing practices, without feeling like a failure? How do we push past the wanting to shove it in a physical or electronic drawer, never to see the light of day again? The first draft is usually when we are the most excited to write. We have a fantastic idea for a story and that enthusiasm pushes us on, regardless of how long it takes, to complete that first draft. Only for some, this isn’t the first draft. It’s the story. We know who our characters are, our setting, the plot itself and how we’d like the story to end. So why would we keep working on it?

Back when I was studying writing and editing, I learned quickly to view my first draft as being the foundation of my book. You can’t have a house with just the foundation alone. We need to build a sturdy frame, strong walls to keep it standing, and a secure roof to keep the outside elements at bay.

With the foundation, we have exactly what’s mentioned above: our characters, our setting, the plot and the ending. I like to think the sturdy frame and strong walls occurs when we take a deeper look into our story after that first draft is completed. For example, I ask myself:

• Are my characters believable? Are they three-dimensional with their own mannerisms, ways of talking, dress sense, heritage or nationality, etc. If I envision my protagonist as being a smoker, how many times have I mentioned them smoking and how they smoke? Do they take long drags of their cigarette, or are they more a quick-puff kind of smoker? If my protagonist is a dog groomer, does she subconsciously reward those around her with a high-pitched, ‘Well done’ and offer a cracker? Do her clothes consist of more dog hair than actual material, regardless of how often she washes them?

• Is my setting believable? Is the world I’ve created one that readers can visualise, hear, smell and even taste? If my character walks into a bakery, have I shown this using some of our five senses? Do I mention the smell of baked bread, sugar and butter upon arrival? Have I shown the rows of cakes, slices and rolls in the display cabinet? If my character is a dentist, have I shown his workplace to reflect this? Did I mention the double glass doors he walks through, the smell of disinfectant and hand sanitiser in the waiting room, the soft music that may be playing or the sound of ruffling magazine pages from waiting patients?

• Does my plot make sense? This may seem like a stupid question to ask, but it’s a crucial one. Have I opened myself to plot holes I didn’t notice earlier, is the main problem in the book realistic in my created universe and is the solution/s to this believable?

• Like with the plot, does my ending make sense? Am I satisfied with any plot twists used and have I made sure not to give these away in the lead up to this crescendo for the reader? Have I tied up loose ends for all characters and subplots throughout the story, even if this is part of a sequel or trilogy?

Redrafting does not need to be a writer’s enemy. In fact, it can be what transforms your work from average, to exceptional, while improving your craft in the process. It helps build from the foundation of that first draft, with strong framing, sturdy walls and a roof structure to make your story whole. It allows you to dig deeper into the various writing elements that make a manuscript extraordinary and connects your book strongly to your readership.

It does not equal failure as a writer.

It does not mean your book doesn’t have a place in the world.

It does not mean you wasted your time.

You have a solid foundation to work from. Without it, your house will fall.

Until next week, happy writing!

Photo by Yannick Pulver on Unsplash