Revision is its own reward.
In revision, your imagination becomes deeply engaged with your material. It's when you come to know your characters and begin to perceive their motivations and values.
In working on a poem, I love to revise. Lots of younger poets don't enjoy this, but in the process of revision I discover things
Revision, once well done, becomes a sort of automatic itch which you scratch in the next work without thinking about it.
I think there simply comes a point at which you're beating your head against the wall with revision, when you're making something different but not better. For me, revision usually has more to do with making the language prettier, finding clearer images, using more active verbs.
I live by my own rules (reviewed, revised, and approved by my wife).. but still my own.
Real equality is immensely difficult to achieve, it needs continual revision and monitoring of distributions. And it does not provide buffers between members, so they are continually colliding or frustrating each other.
The psyche of the individual is commensurate with the totality of creative energy. This requires a most radical revision of Western psychology.
There is an urgent need for a radical revision of our current concepts of the nature of consciousness and its relationship to matter and the brain.
So for me the approach has become to go into a story not really sure of what I want to say, try to find some little seed crystal of interest, a sentence or an image or an idea, and as much as possible divest myself of any deep ideas about it. And then by this process of revision, mysteriously it starts to accrete meanings as you go.
Revision has its own peculiar pleasures and its own peculiar frustrations. The ground rules are already established; the characters already exist. You don't have to bring the characters to life, but you do have to make them more convincing.
For me writing is an organic process that starts with engaging the language and then thinking about the structure of the novel as you move along. Especially in revision you start to notice correlations. Things come up, not self-consciously, because you're busy feeling your way through sentences and trying to push the language into new places.
Each poem seems to demand its own formal approach. In both drafting and revision, I'll play around with line lengths and stanza formations, eventually letting the poem settle into what I think is its own best form.
I reserve the right to evolve. What I think and feel today is subject to revision tomorrow.
Revision means throwing out the boring crap and making what’s left sound natural.
I believe more in the scissors than I do in the pencil.
All the revision in the world will not save a bad first draft: for the architecture of the thing comes, or fails to come, in the first conception, and revision only affects the detail and ornament, alas!
There are days when the result is so bad that no fewer than five revisions are required. In contrast, when I'm greatly inspired, only four revisions are needed.
The contents of a house can trigger all sorts of revisions to family history.
You're trying to make the language work, and your subconscious is being allowed to make the deeper, more profound connections. It's much better than going at it all frontally. But you can't conjure it in an intellectual way; it has to come out of another engagement, a more intuitive engagement. Revision is where the intellectual, analytical work happens. At least for me.
One great aim of revision is to cut out. In the exuberance of composition it is natural to throw in - as one does in speaking - a number of small words that add nothing to meaning but keep up the flow and rhythm of thought. In writing, not only does this surplusage not add to meaning, it subtracts from it. Read and revise, reread and revise, keeping reading and revising until your text seems adequate to your thought.
Sometimes I would write while inspired and sometimes I would write through sheer force of will, and in revision the writing that I thought was "dead" very frequently turned out to be better because it was more free of ego.
It was my dream, and probably the dream of every one of us, to bring about a revision of the Versailles Treaty by peaceful means, which was provided for in that very treaty.
Stories, as much as we like to talk about them, retrospectively, as emanations of theme or worldview or intention, occur primarily as technical objects when they're being written. Or at least they do for me. They're the result of thousands of decisions made at speed during revision.
Sometimes the best revision of a poem is a new poem.
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