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This follow-up to the bestselling The Weekend Novelist will guide writers of all levels through the next phase in crafting their novel: the rewrite.
You’ve finished your first draft—congratulations! Think it’s ready for publication? Think again. The next stage is all about revising and reworking your manuscript—fine-tuning the plot, adding or improving subplots, and fleshing out characters; in short, addressing important structural issues that make or break a novel.
Robert J. Ray, who helped thousands of writers get from blank page to first draft in The Weekend Novelist, now guides the same audience through a series of seventeen weekend revision exercises designed to fit into any busy lifestyle, focusing on everything from rewriting scenes to developing sound flashbacks to refining characters’ back stories. Throughout the book, Ray illustrates his lessons with examples from such great works of literature as Jane Eyre, Gorky Park, and The Great Gatsby so that writers may more easily identify how and why a certain technique or structural element helps or hinders their own work. Also included are checklists, timed exercises, plot diagrams, and charts—all aimed to get you rewriting and revising your draft with confidence.
Whether you’re an amateur novelist, a seasoned writer who’s hit a mental block, or a creative writing teacher looking for proven exercises for better instruction, The Weekend Novelist Rewrites the Novel provides the tools to transform first drafts into successful novels.
- Sales Rank: #152659 in Books
- Published on: 2010-02-16
- Released on: 2010-02-16
- Original language: English
- Number of items: 1
- Dimensions: 8.25" h x .58" w x 5.49" l, .54 pounds
- Binding: Paperback
- 276 pages
About the Author
ROBERT J. RAY is the author of eight novels, including the acclaimed Matt Murdock Mystery series, and has also written several practical writing guides, including The Weekend Novelist and The Weekend Novelist Rewrites a Mystery. A resident of Seattle, he runs writing workshops and formerly taught writing for the University of Washington’s School of Distance Learning. He is a member of the Pacific Northwest Writer’s Association.
Most helpful customer reviews
24 of 25 people found the following review helpful.
Self-Editing Your Novel Maunuscript
By Dr C J Singh
THE WEEKEND NOVELIST REWRITES THE NOVEL makes an excellent companion to Ray's "The Weekend Novelist" (TWN). But, what if you haven't read TWN? You still could follow this book -- thanks to its 11-page detailed glossary. The book also includes a witty rewrite-in-progress of a draft -- a draft that had been completed without its author having read TWN.
In rewriting, Ray focuses on restructuring, not mere copyediting (aka line-editing): "The key to rewriting your novel is not line-editing, the key is fixing the subplots. If you fix the subplots, then the manuscript will shape up" (page 7). The assumption here is that the writer has already structured the main plot with care. Ray suggests many restructuring exercises such as making separate grids for each subplot. Throughout, he presents structural analyses of a number of novels to illustrate craft concepts. The novels include:
literary contemporaries such as
The Accidental Tourist by Anne Tyler,
Wide Sargasso Sea by Jean Rhys,and
The English Patient by Michael Ondaatje;
literary classics like
PRIDE AND PREJUDICE,
JANE EYRE,
THE GREAT GATSBY
and a few genre novels like "Gorky Park" and "The Eye of the Needle."
Ray also comments on the screen adaptations of novels and suggests the "Rewrite mantra: to find story secrets, study good films" (p. 35). In both editions of TWN, the short list of recommended books for novel-writing include Syd Field's "The Screenwriter's Workbook." Field's pioneering book, "Screenplay,"
popularized the three-act structure (based on Aristotle's "Poetics") and added two plot points, which he defined "as any incident, episode, or event that hooks into the action and spins it around in another direction."
The second edition of "The Weekend Novelist" begins by noting: "Writing a novel in the twenty-first century is made complicated by the world of screens. It wasn't like that always....Screens have changed the writing world. When the writing world changes, the writer must change." To learn the new complications in the craft, I studied both editions of TWN.
In TWN first edition, Ray lucidly analyzes the fiction craft in one novel, Anne Tyler's "The Accidental Tourist," a great favorite of mine ("Anne Tyler is not merely good; she is wickedly good," wrote John Updike). Study of this edition effectivley teaches many characterization techniques. TWN, second edition, expands "the plotting section ...to give you a range of choices for building your book. The basic concept you need to build a plot is architecture" (ix). The second edition presents detailed craft analyses of five contemporary novels, including two with cyclical structural design. The five novels are:
The Amazing Adventures of Kavalier & Clay by Michael Chabon;
Amsterdam: A Novel by Ian McEwan;
White Teeth: A Novel by Zadie Smith;
and the two with cyclical design,
The Alchemist by Paulo Coelho;
The Namesake: A Novel by Jhumpa Lahiri (film adaptation,The Namesake DVD).
Yes, the second edition does teach more complex plot-structures. Michael Chabon's "The Adventures of Klavier and Clay" is a great favorite of mine as I fully agree with his aesthetic that "a work of fiction must be first of all entertaining" (A recent conversation at UC Berkeley library). Another great favorite is Jhumpa Lahiri's "The Namesake," especially its cyclical plot structure. However, if you are plannig a linear plot structure, the TWN first edition (now out of print) might be adequate.
The rewriting guide schedules 20 hours each weekend for 17 weeks for rewriting -- at least as many hours as scheduled in TWN for completing the initial draft. I found no particular merit in long sessions on weekends and reverted to the equivalent schedule of daily three-hour sessions.
Although "The Weekend Novelist Rewrites the Novel" could serve as a guide by itself, it'll clearly be more effective as a follow-up to the second edition of "The Weekend Novelist."
--C J Singh
11 of 11 people found the following review helpful.
An Excellent Companion to The Weekend Novelist
By Dr C J Singh
THE WEEKEND NOVELIST REDRAFTS THE NOVEL makes an excellent companion to Ray's "The Weekend Novelist" (TWN). But what if you haven't read TWN? Can you still use the follow-up book? You could -- thanks to its 11-page detailed glossary. The book also includes a witty rewrite-in-progress of a draft -- a draft that was evidently completed without its author having read TWN.
In redrafting, Ray focuses on restructuring, not mere copyediting: "The key to rewriting your novel is not line-editing, the key is fixing the subplots. If you fix the subplots, then the manuscript will shape up" (page 7). The assumption here is that the writer has already structured the main plot with care. Ray suggests many restructuring exercises such as making separate grids for each subplot. Throughout, he presents structural analyses of a number of novels to illustrate craft concepts. The novels include:
literary contemporaries such asThe Accidental Tourist by Anne Tyler,
Wide Sargasso Sea by Jean Rhys,and
The English Patient by Michael Ondaatje;
literary classics like "Pride and Prejudice," "Jane Eyre," and "The Great Gatsby";
and a few genre novels like "Gorky Park" and "The Eye of the Needle."
Ray also comments on the screen adaptations of many of the above novels and suggests the "Rewrite mantra: to find story secrets, study good films" (p. 35). In both editions of TWN, the short list of recommended books for novel-writing include Syd Field's pioneering "The Screenwriter's Workbook," which popularized the three-act structure (derived from Aristotle's "Poetics") and two major plot points. The second edition begins by noting: "Writing a novel in the twenty-first century is made complicated by the world of screens. It wasn't like that always....Screens have changed the writing world. When the writing world changes, the writer must change." To learn the new complications in the craft, I studied both editions of TWN.
In TWN first edition, Ray lucidly analyzes the fiction craft in one novel, Anne Tyler's "The Accidental Tourist," a great favorite of mine ("Anne Tyler is not merely good; she is wickedly good," wrote John Updike). Study of this edition effectivley teaches many characterization techniques. TWN, second edition, expands "the plotting section ...to give you a range of choices for building your book. The basic concept you need to build a plot is architecture" (ix). It presents detailed craft analyses of five contemporary novels including two with cyclical structural design. The five novels are:
The Amazing Adventures of Kavalier & Clay by Michael Chabon;
Amsterdam: A Novel by Ian McEwan;
White Teeth: A Novel by Zadie Smith;
and the two with cyclical design,
The Alchemist by Paulo Coelho;
The Namesake: A Novel by Jhumpa Lahiri (film adaptation,The Namesake DVD).
Yes, the second edition does teach more complex plot-structures; however, many might find the straight-forward treatment of plot in the first edition more than adequate.
The redrafting guide schedules 20 hours each weekend for 17 weeks for rewriting -- at least as many hours as scheduled in TWN for completing the initial draft. I found no particular merit in long sessions on weekends and reverted to the equivalent schedule of daily three-hour sessions.
Although "The Weekend Novelist Redrafts the Novel" could serve as a guide by itself, it'll clearly be more effective as a follow-up to the first or second edition of "The Weekend Novelist."
--C J Singh
5 of 6 people found the following review helpful.
unworthy of its predecessor
By margaret_yang
from Margaret Yang of the "Writing Slices" blog
THE WEEKEND NOVELIST REWRITES THE NOVEL is the sequel to THE WEEKEND NOVELIST, which I found quite useful. In that earlier book, Ray took the huge task of writing a first draft and simplified it by breaking it into 52 parts, to be finished in a year of weekends. He tries to do something similar here, but instead of simplifying, he’s made rewriting so complex no one will do it. If I were a new author, I’d find Ray’s method too intimidating to try. Now that I am a seasoned author, I just find it silly.
Ray’s rewrite plan has seventeen steps. If you write only on weekends, it will take about four months to finish. But even then, you won’t be done because at that point, you've only restructured your novel. Ray’s plan leaves only two weekends to polish the prose.
The main problem with THE WEEKEND NOVELIST REWRITES THE NOVEL is that it breaks things down too finely. For example, Ray instructs writers to make a grid of every character who opposes the main character, detailing when they enter and exit the story, what their resources are, what object symbolizes them, and what they want. But really, only the last one is of any use. Once you know what the bad guy wants, and how it’s in opposition to the good guy, you know everything. This is just one example of the tasks Ray sets forth. Even if you had all the time in the world, there is no reason to do most of them. They are wasted effort.
I’m a person who loves story structure and loves rewriting. I color code my outlines and think of index cards as toys, yet I found THE WEEKEND NOVELIST REWRITES THE NOVEL tedious in the extreme. I’d rather spend my money on a better book and spend my time doing actual, productive work.
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