The Revision Stage is where you find the story. If you're a one-and-done drafter, we all envy the pre-planning you did and the dominion your characters have over you. Or maybe you're a perfect pantser drafter. Either way, we're envious. You're able to find the story before giving your characters a chance to live on the page (hehe).
Background
I just completed my third quarter of thesis writing for my MFA and as I go into the first of two thesis writing quarters, I'll be working on revising Act I of my Rom-Com, which is what I'll submit for my final thesis.
My thesis advisor is a USA Today Bestselling Author. She is working on multiple contracted projects. At once. She knows her stuff. Her developmental edits of my (trash) drafts have been instrumental in me finding the story approximately halfway through the third quarter of writing.
One of the first statements I made to her was I was not married to ANYTHING (I've changed character names, plot points, and raised a character from the dead). The purpose of writing this story (instead of what I'm naturally drawn to: thriller/horror) is to master writing a romance to the level where I could obtain literary representation and/or a publishing contract from a traditional press. There are no guarantees I'll reach either of those goals but, if at the end of this process, my advisor believes I've hit that level (she would know), then I will happily self-publish and move on.
For the last three quarters, I've been writing the same act--plus some--over and over. Each time I restarted this story, I reimagined, restructured, and revised not only the story but the main characters.
I've said it before and I'll say it again: being open to having your ideas challenged critically is crucial to the creative process. With this fourth restart, the story has been flowing out of me. The advisor notes are less about clarity and details and more "bwahahahahaha" because she's literally laughing so hard.
As this is a dual-point-of-view (POV) story, I will have two protagonists—or do I? In a third-person romance, it's typical to see dual (or more!) POVs, but I'd still argue one character will rise slightly above the other. The heroine in my story is the major protagonist (the hero is the minor).
After developmental edits, evaluate your protagonist with core story tenets and developmental questions. Below are three things to consider when preparing to revise your protagonist.
Prep Work
1. Do You Need a Protagonist?
TL/DR: Yes.
If you're writing genre fiction, the reader is looking for an emotional change journey. If no one is taking this journey, who is your reader supposed to root for? The "collective" that isn't learning anything? Think about the books in your genre that moved you emotionally; now, name the protagonist (if you said Hunger Games and Gale, re-read it).
2. Genre Conventions
TL/DR: They exist. Learn them.
For example, if you're writing a Young Adult (YA) protag, would that character sound like you (especially if you're not a young adult, haha)? How people communicate changes frequently to include modes and colloquial terms. Writing regency? Are the social activities and speech true to the day? Are economic conditions not a thing in your dystopian fiction? Hint: They should be. Is your cozy mystery full of violence and sex? Then it's not cozy at all.
What do these conventions have to do with revising the protagonist? Unless your protagonist lives on a blank page, she will be interacting with the world, and that will have an impact on the emotional journey and plot. If anything is off, your protag's journey might not appeal to your readers (not to mention the erroneous world you created).
3. POV/Narrative
TL/DR: This is a decision.
In romance, you can find narratives in first and third person. I've already mentioned the dual-POV in third-person narratives. In romcoms, there isn't a must-do rule for either of these. But you should consider the emotional arc and backstory of your protagonist. Would the experience be better served if you're inside one head or more? Is first person the strongest POV to convey the emotional journey? Is the limited (deep) third-person narrative's ability to allow more than one perspective a more scattered or richer experience? Now tack on present or past tense.
Okay, that’s enough for Part 1. Next time, we’ll take a look at some of the questions my thesis advisor posed about my protagonist.
Want a brief guide to help you flesh out your protagonist? Download this free resource here.
I’m an MFA student seeking more creative work. Consider me for your next project.
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