When I first started out writing I didn’t really understand what a rewrite was all about. I just thought it was for refining the words – felt I’d worked hard on my first draft and that was enough; all that remained was to check it flowed pleasantly. And to be totally honest I think part of it was laziness. It can be gruelling writing a novel – certainly when you are just starting out and aren’t used to the process – and the thought that I needed to look at the whole manuscript once more felt overwhelming.

This is probably why it took me several unpublished manuscripts to bag an agent! And to appreciate that the rewrite was a valuable opportunity to look at the project with fresh eyes – from a distance, at a less involved level, to really make sure that each component of the story (plotting, characterisation etc) was doing its job properly. And to not be scared of deconstructing the story. You have to be brave to make your novel the very best it can be.

So for anyone else who sometimes finds it difficult to know what the next step is, after finishing a first draft, the following – in my experience – are common reasons to rewrite:

The settings aren’t vibrant enough. Not only do settings help the reader visualise where the characters are, they can also reflect mood or hint at plot.  So during the rewrite I focus on really involving all of the five senses. Say my protagonist visits a coffee shop – I’ll develop the smells and noises. I’m thinking coffee grinding, a till bleeping, customers deep in chat, cutlery on plates. Delicious aromas might accompany a feel-good scene or give welcome relief after a drama, along with a warm, visually cosy decor. The amount of work you need to do will largely depend on how detailed your first draft is but speaking for myself I often get so excited about the plot and dialogue and focus on those things, that my first draft settings suffer.

By the same token characters are not fully developed. I don’t think much about my protagonist before I start a new manuscript. I just dive in and keep continually going back to tweak him/her as I go. By around Chapter 6 I usually have an in-depth idea of what they are like and can then just continue  moving forwards. However, as I mentioned above, when I write first draft I don’t do this with the minor characters that are mostly created as I go along. Consequently during the first read-through I’ve just done I even found I had to completely change some of the supporting cast’s motivations. This  meant adding in a couple of chapters. Minor characters are there to assist the plot and show important dimensions of the protagonist – how/why they were as they were, how/why they’ve changed. So whilst minor in presence, they are major in importance and should be fully thought-through and rounded.

The pace hasn’t resulted in a gripping read. There are not enough hooks to keep the reader turning the page – or there are but they are in the wrong places. Lulls in action (important because the reader needs to catch their breath) have resulted in unnecessary scenes that don’t move the plot forwards or develop the main character – this is something I personally have to watch out for. I like nothing more than sitting my characters down, for a chat, over a cup of coffee to recover from recent drama but more often than not these scenes serve no real purpose. Every page of the book has to earn its place in some way.

The narrative needs refining. For the most part my first draft is thrown down onto the page – that’s the best way I can describe it. So the metaphors or similes aren’t necessary appropriate. The rhythm of the sentences might not flow easily. There’s repetition. I might use adverbs too liberally. I might show – or tell – too much (I’m a great believer in tell having its place!) For me the main point of writing is to exactly transfer my thoughts and emotions onto the page. Sometimes this takes time, so I compromise during the first draft. The rewrite will be when I might consult my thesaurus, and will really hone my craft and rethink words and sentences with care. Because if I get hung-up on doing this during the first-draft I can lose my mojo and come to a halt. And I find it’s such a joy and so satisfying during the rewrite to really take my time and polish or restructure what’s already on the page.

The dialogue needs working on. It might not sound natural. Or may not sound unique to each character speaking it. Perhaps it contains superfluous words.  I find I am always having to remove Yes and No’s. Certain dialogue tags may not be necessary (he said, she called, etc). And this time around I had to remove many nods and smiles that accompanied my characters’ speech.

And other aspects of editing, editing, editing such as tightening sentences and checking continuity, the timeline and tense. Book 11 was written in the first person present, this Book 12 in the first person past. On reading through I found that I’d slipped into the present many times and had to change that.

Also double-check your facts. If you include anything written in a foreign language, is it correct? Have you thoroughly researched anything historical? What about locations? If, like me, you don’t do all of the necessary research before the first draft, then the rewrite process may not involve checking but finding out things for the first time.

Take a step back from your personal experience. As writers we inevitably put ourselves and aspects of our lives into our stories – emotions, themes, perhaps even characters or plot. This is ploughed into the first draft. But don’t make the mistake of thinking this means you don’t need to still do research. My latest release, Forgive Me Not was inspired by my own journey through addiction services but I still found I needed to interview case workers to make sure the detail of the novel was spot on. It’s also about Alzheimer’s and my family has suffered experience of this – but everyone’s experience is unique and I still researched how this disease might have affected other people differently. During the rewrite take a step back and consider if you have explored all aspects of your themes or if it’s one-sided by being simply based on what you’ve gone through yourself.

Some rewrites need to be more brutal – and this may be discovered after passing your manuscript on to a trusted beta reader, editor or agent. I virtually had to start Forgive Me Not again from scratch and I blogged about that here.

Whatever your reasons to rewrite accepting, in advance, that there will be some helps soften the blow when you come to that first read-through or receive initial feedback. First drafts are never oven-ready for publication and try to see this as a positive. Don’t be afraid of cutting or reconstructing. Now it’s your chance to really make that precious story sing!

Good luck!

However sometimes you have to accept that there comes a point when it is best – it is the right thing – to let go of a project.

My ninth book, One Summer in Rome, is just about to be published and previous to my debut I wrote several other novels that are are firmly under my bed now. So why did I give up on them? Surely I could have improved and rewritten those stories?

Here are the main reasons, in my opinion, why for some stories the answer is no.

It’s your first ever book

Looking back I had a sense of entitlement with the first novel I wrote in 2005. What an achievement, I thought – and it was – but I decided completing my goal was enough to see it in print. And what a shock – and wake-up call – when the rejections came in. It had seemed like such a mammoth task to write those 90,000 words. How could I possibly waste them by starting something else?

Well, that’s the key to moving on without too many tears. Don’t see the discarded project as a failure or waste. I learnt SO MUCH from that first novel. At 90,000 words it only had four chapters, so that taught me about structure! When I wrote it I knew nothing about point of view or show not tell. It was full of autobiographical anecdotes. Very self-indulgent. And included a ridiculous storyline about making opium out of poppy seeds! I’m incredibly grateful, now, that it never found its way into the public arena.

I received one complimentary, personal rejection from an agent and that gave me the strength to start another book.

So don’t become too attached to your first-born. Statistically, the odds are that it may not get a deal.

And that’s okay. There’s usually a good reason.

Repeated negative feedback tells you the idea just isn’t strong enough

I have a folder of over 80 rejection letters that I’ve kept – to remind me, I suppose, that hard work and determination can bring rewards. But they are also tangible proof that there is a reason my discarded manuscripts are under my bed. Most of those letters are standard, thanking me for my submission BUT… the rest of those letters is inconsequential. The bottom line was that the manuscripts just weren’t different or good enough.

Perhaps the characters and plot are too thin. Maybe your writing still isn’t where it should be. Go on courses. Read How To books. Get feedback from fellow writer friends you trust. I don’t know a single writer that has persevered and persevered and not eventually succeeded in getting a deal.

If you manage too receive personal feedback from an agent that suggests revisions that’s fantastic, but be careful. One once showed great interest in one of my projects. She didn’t like the first draft so I totally rewrote the story and it lost its heart. The agent liked that version even less and by that point I didn’t know what the novel was anymore.

The whole process was heartbreaking but it taught me a valuable lesson – don’t jump straight in to a rewrite, exciting as it can be if you think you might be on the cusp of getting representation. Get another view as well, perhaps from a beta reader or literary consultancy. Ultimately it might just be better to cut your losses and start another project. Rewrites are time-consuming.

Another idea comes along…

Sometimes you might want to ditch a project a few chapters in but feel this would be a waste. SEE ABOVE – nothing is wasted when you are writing, it is all improving your craft. In 2015 I started writing a Christmas book. It was going to be a wedding story related to my debut Doubting Abbey. It was to be a fun story called My Big Fat Frozen Wedding (I wonder if Frozen themed weddings are a thing!) However a few chapters in, an idea came into my head for a sequel to my summer bestseller Game of Scones. I felt more passionate about that so, after talking to my editor, took the decision to shelve the Frozen idea and My Big Fat Christmas Wedding was born.

Follow your instincts. Readers will notice if your heart isn’t in your work.

Your book won’t ever fit the market

It’s a difficult one, this. Write completely for the market and your work may not come across as sincere. I follow my gut but keep one eye on what is selling. It’s a compromise.

I didn’t with one book that – admittedly – I’ve found very hard to let go of over the years. I’ve rewritten it numerous times (and if your gut strongly tells you to give your project another go I blogged about tackling major rewrites here). I’ve submitted it every few years. But finally I’ve accepted it’s place is permanently under my bed. It’s a romcom set in Ancient Egypt. I loved writing it and doing the research but publishers just don’t know how to place it. It’s very quirky and not one hundred percent romance. There are other issues. It would be a risk to invest.

But here’s the thing – you can always cannibalise your old scripts and take ideas from them to use in new stories. The two main characters in my Egyptian book were young executives and formed the basis for Pippa and Henrik in Game of Scones.

In fact, Game of Scones was originally set in heaven (don’t ask!) It was a flat NO from my editor. At the time there was a question over whether paranormal romance was selling. So I let go of that idea and wrote a different story, set in Greece, that went on to sell 100,000 copies.

Don’t see discarding a project as failure. It will have taught you so, so much about writing and the submission process. Be brave and stash it under your bed. Move on to your next exciting challenge. It is hard and, for me, parting company with those much loved babies often brought tears.

But never forget that those unpublished manuscripts are an incredibly valuable and worthwhile part of your journey.

Here are some of the HURDLES I’ve faced and how I’ve got over them.

Rejections – I started writing in 2005 and sure enough, the rejections soon started coming in after I submitted my first novel. And I’m in good company. Stephen King’s Carrie was rejected 20 times, Margaret Mitchell’s Gone with the Wind almost 40. I have a pile of over 80 rejections upstairs in a folder for various  manuscripts. For some reason I can’t throw them away. I think it’s because they represent my journey and if I’m going through tough times now they are a pertinent reminder that failure only exists if you give in. But how did I overcome that sense of disappointment and the tears? I sought the support of my online and real-life writing friends. Becoming part of an author community gave me perspective and made  me realise I was not alone – that publishers or agents turning down my manuscripts wasn’t personal. And hearing success stories of writers who’d been in my position but still eventually got that publishing deal was great motivation. So don’t write in a vacuum – network and find some support.

Writer’s Block – this doesn’t happen to me often and that’s because I view my work as very diverse. Stuck on a chapter? Go and write a blog post instead. Or a short story. Or go to a cafeteria and plan the chapter roughly by hand – that always works for me. I consider all of this to still be writing and it takes away the sense of failure if I’m staring at a blank page. Or go and read a book for inspiration. It all counts. Failing that, simply take a break for a couple of hours, a day, a week…

And remember the words of Margaret Atwood: “If I waited for perfection, I would never write a word.” Just write something. Get on with it. Leave the refining to the rewrite.

Bad Reviews – this isn’t something I thought about before signing my first deal. All I’d dreamt of was beautiful covers, shelfies and launch parties. Yet the first rating I ever received for my debut book, on GoodReads, wasn’t glowing and made me sharply aware that I was going to need to toughen up. Sadly my  horrified expression was captured in my passport photo taken the next day although I’m glad to say that the book became a Kindle bestseller. I can laugh now, but at the time it was upsetting. However, over the years I have learnt to ignore the insulting reviews. I accept that all books get their fair share of poor ones and this is confirmed whenever I look up my favourite authors on Amazon. Some writers never read their reviews – and that is one way of dealing with it. I read every single one, with an open mind, as long as it is constructive (and polite!). It’s interesting to read the criticism, some of which I take on board if I think it makes a fair point.

My work is ME – this attitude is very debilitating and one that needs to be quashed. It’s hard for creative folk to separate themselves from their work, especially if they do it full-time. I went through a very challenging period a couple of years ago when I felt that if a book didn’t do as well as the previous one I, as a person, had failed. This, of course, is rubbish. Writing is my job – not me. I’m also a wife. A mother. A daughter. A friend. A reader. A cook. A homemaker. A fan of Buddhism. A linguist. A Walking Dead fan. And many other things.

You need to separate YOU from your authorly alter ego. Never believe that you are the sum of your sales. There are many dimensions to you. Writing is only one of them.

Self-doubt – I blogged about Imposter Syndrome here – that feeling that we’re not really authors and that someone will one day find us out. Published or unpublished we are plagued by self-doubt, especially before that first deal, but if you are putting finger to keyboard and honing your craft, you don’t simply need a contract to validate that YOU ARE A WRITER. So give the post a read and find out how I overcome those negative voices.

Rewrite Blues – these hit me recently after feedback. I almost gave up on the project but now I’m so glad I perservered. I blogged about how to cope with this here. Just remember that if someone is willing to put in the time to give you detailed, challenging feedback, it means they believe in you and your work. Step back. Deep breaths. Don’t take it personally and then get on with making your manuscript really sing.

KEEP ON GOING, whatever your own hurdles may be. It took me eight years to land my first publishing deal and it’s been worth every minute of what I call The Wilderness Years, when I was writing and submitting – although I won’t add “with little success” because the success was that during that time I was learning my craft.

And last up – manage your expectations. I couldn’t believe my first ever submission was rejected – oh, the ignorance of an ingenue! Forget red carpet film adaptation deals and literary prizes. As JK Rowling once said on Twitter (about her and her alter ego Robert Galbraith):
“Believe me, neither @RGalbraith nor I walk around thinking we’re fab. We just shoot for ‘writing better than yesterday’”.

I’ve never known a writer – who didn’t give up – not to get their work out there.  Believe in yourself. Improve your art. And don’t get your passport photo taken after your first ever bad review because you’ll be stuck with it for ten years

I sent off my latest manuscript and eagerly awaited feedback. Finally it arrived. I opened the email and… Okay. I admit it. Cue a mini meltdown. The suggestion was that the book needed stripping right back to the original kernel of the idea. Chapters needed down-sizing into paragraphs, or cutting out completely. A good number of characters needed to disappear.

We’re talking a major rethink. We’re talking murdering many darlings. Or possibly ditching the book.

This was new. In the past – and I’ve had eight books published, now – I’ve had what I call “extensive” rewrites but now I realise they weren’t. At the most they’ve meant restructuring a plotline or adding emotion or developing a protagonist further. My first drafts have rarely needed fundamental changes. I plan each chapter in detail before I write. At the end of the process I’m more of a tweaker and that seems to have worked. I’m not used to completely pulling apart a finished draft.

So this has come as something of a shock.

Especially as, when I send off my first draft, I am always in what I call  “delusional X-factor contestant mode”. I make no apologies for this. It’s necessary for me if I want to write any book. I need to think it is going to change the world!

This meglomania doesn’t last forever, of course. My feet soon settle back onto the ground during the process of rewriting and editing, of publishing and getting reviews… but I need to feel super excited and confident about any project at the beginning. So when this feedback came back I wasn’t sure what to do.

I had two options. Move onto my next project (which I’m very enthusiastic about) or tackle the major rewrite. And of course, sometimes there are genuinely valid reasons for moving on. My advice, here, is listen to your heart and talk it through with reliable and knowledgeable writerly confidantes. I shelved several projects before getting published because I could not re-ignite my motivation and I think, deep down, that was because I realised those stories were never going to work.

Indeed, my first reaction in this instance? With all my confidence gone and feeling despondent, I decided to start my next book and leave this one either to stay permanently under the bed or revisit at some point in the future. I decided fixing the problems would involve too much work and take too long.

However, something unexpected happened overnight. The characters began to talk to me. Ideas slowly formulated around which needed scrapping and how to improve the remaining ones. Then new plotlines twitched in my brain. I woke up feeling rather excited. Eventually, after a day or two, I realised that this book, this story still existed – I just had the  opportunity now to really make it shine, having already done a lot of the groundwork.

I mapped out all the chapters and almost enjoyed slashing some out and combining others together. As for the characters, it’s not proving to be as hard as I expected to ditch some even though, in my head, they’d become my friends.

Perhaps they’ll resurface one day in another story. And that is the essence of embracing the major rewrite – realising that what you have to lose is not a waste. Characters can be used again and all of that prose you wrote is practice – continually you are improving your craft.

I’ve now regained some confidence and cringe when I think about the initial version. I’m grateful for the knowledge I now have of where and why I went wrong. This should help with my next draft and future projects.

So here’s my own advice for embracing a major rewrite -and if you’ve any tips then please do share them!

Sure, throw a little pity party and lick your wounds when vigorous feedback comes back. Eat chocolate. Take a long bath. Grieve for the story you believe you have lost. But don’t let this stage last too long.

Sleep on it. Even take a break for a few days. Try to stand back. Put your ego to one side when asking yourself if the editorial suggestions are valid.

Don’t see it as having to start over again. See it as simply continuing with, and fully fleshing out, a plot and characters you have already well developed. Refuse to see slashed characters and chapters as wasted.

Realise that if someone takes the time to give you detailed feedback, be that a potential agent, signed agent, editor or critque partner, they believe in your writing. 

As a resident Mancunian, I’d say  make your mantra “You don’t get owt for nowt”. Yes, writing can be bloody hard work.

Remind yourself that a first draft is called that for a reason. It isn’t the last.

Compare starting another story from scratch, to *starting* one where you’ve already worked extensively on the nuts and bolts. No contest!

Good luck!