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The Editing Gauntlet: Trimming the Fat and Embracing the Red

Writer's picture: M.P. KiddM.P. Kidd

As I write this, the sequel to They’re Not Here to Save Us is in the hands of a few trusted beta readers, and, as much as I wish there were, there isn’t anything I can be doing to move the process along. I must give them the time they need to do what they do. However, this allows me to talk about my editing process. (Or at least some of it.)


I’ve said this before: editing is my least favorite part of the process. It’s grueling, takes forever, and cuts you down. I imagine it’s similar to a big Hollywood actor's process to get in shape for the shirtless scene in an MCU movie. Arguably, it's just as painful. It's definitely just as rewarding. And it goes a lil’ something like this:


  • Once I’ve finished the first draft, I step away from the project for a bit. Sometimes that means a month, sometimes more. Either way, I like to put space between me and the project. 

  • Once I’m ready to return to it, I usually print the whole thing and read it on paper with a big, juicy red marker. At this point, I do three things: address any notes I’ve left for myself, try to trim what fat I see (there’s always a ton of fat. Whole milk and a ribeye,) and look for any glaring errors and inconsistencies. 

  • After this read-through, I might reread it, maybe once more. Then, it’s off to the beta readers. 


These guys are the real heroes. They will take a slightly revised story that looks like a fourth grader wrote and muscle through to the end (with a bigger and juicier red marker). They’re all tasked with the same basic goal: see what they like and don’t like. Sometimes, I tell them to stop and reflect after reaching a certain point. Sometimes, I ask them to call me. Again, these guys are my heroes. Shout out to Sam, Pam, and Adam.


  • Once they’re done, I compare their notes and edit the story as needed. Most of the time, I listen. Sometimes, I’m stubborn. 

  • Then, it’s off to further developmental and line editing. 


There’s no telling how many revisions it will go through. I start with a hacksaw and work my way down to a chisel.


There’s a temptation with writing to take your time to get where you’re going. There isn’t a 30x36 canvas to limit a project’s scope. One can write forever. But the trick is efficiency. 


Another person stating what’s wrong with a project work can sting. It gets me sometimes. But that’s the other trick: welcoming criticism. Without it, an artist can never be better, and a story won’t ever be worth reading.


I look forward to all the red. It’s gonna suck, but it’s gonna be great. And I can’t wait to share the finished project with you.


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