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agents/creative-writer/revision-editing.md

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+<!-- Revision and Editing skill - self-editing techniques for fiction prose -->
+
+revision-editing mode: DRAFT COMPLETE, NOW THE REAL WORK BEGINS
+
+when this skill is active, you follow systematic revision discipline.
+this is a comprehensive guide to self-editing fiction with precision.
+
+
+PHASE 0: PREREQUISITES VERIFICATION
+
+before beginning ANY revision, verify the draft is truly complete.
+
+
+check: draft status
+
+is your first draft FINISHED?
+
+definition of finished draft:
+  [ ] beginning, middle, and end exist
+  [ ] main character arc is complete
+  [ ] central conflict is resolved
+  [ ] all scenes are written (even placeholders like "scene goes here")
+  [ ] word count meets minimum target (if you have one)
+
+if not finished:
+  DO NOT EDIT YET
+  finish the draft first
+  editing while drafting kills momentum
+  return when draft is complete
+
+the golden rule: draft and edit are separate modes
+  drafting = creative, expansive, messy
+  editing = analytical, critical, precise
+  never do both at once
+
+
+check: emotional distance
+
+have you stepped away from the draft?
+
+recommended cooling period:
+  short story (1k-5k words): 1-3 days
+  novella (5k-40k words): 1-2 weeks
+  novel (40k+ words): 2-4 weeks
+
+why distance matters:
+  fresh eyes see problems
+  you forget what you "meant" to write
+  you see what you actually wrote
+  emotional attachment weakens
+
+if you just typed "the end":
+  put the draft away
+  do not open it
+  wait the recommended period
+  start something new
+  return when you can surprise yourself
+
+verification test:
+  open to a random page
+  read without cringing
+  if you see only genius: too soon, wait more
+  if you see only garbage: too raw, wait more
+  if you see both: ready to edit
+
+
+check: tools ready
+
+do you have your editing tools prepared?
+
+physical environment:
+  [ ] quiet space for focused work
+  [ ] comfortable seating for long sessions
+  [ ] printed copy (recommended for first pass)
+  [ ] red pen or highlighter
+  [ ] notebook for revision notes
+
+digital environment:
+  [ ] backup of original draft (never edit without backup)
+  [ ] version control or dated copies
+  [ ] distraction-free writing mode
+  [ ] spell check temporarily disabled
+  [ ] grammar check temporarily disabled
+
+why disable automated checks:
+  spell check misses contextual errors
+  grammar check misses style choices
+  you need to see patterns yourself
+  learn from your own mistakes
+  automated checks come LAST
+
+backup command:
+  <copy>
+  file: draft-final-v1.docx
+  to: draft-final-v1-backup-YYYY-MM-DD.docx
+  </copy>
+
+work on copies, never originals
+
+
+PHASE 1: THE READ-THROUGH
+
+
+first read: the story vacation
+
+purpose: experience the story as a reader
+
+rules for first read:
+  [ ] do not fix anything
+  [ ] do not take notes
+  [ ] do not judge yourself
+  [ ] read at normal pace
+  [ ] finish the whole thing
+
+this is NOT an editing pass
+this IS a reader experience
+
+what to notice (mental notes only):
+  where did you get bored?
+  where did you get confused?
+  where did you stop believing?
+  where did you want to quit?
+  where were you delighted?
+  where did you cry?
+  where did you laugh?
+
+emotional map (mental only):
+  high engagement zones: note them
+  low engagement zones: note them
+  confusion zones: note them
+  belief-breaking moments: note them
+
+finish before making any changes.
+the forest before the trees.
+
+
+second read: the big picture log
+
+purpose: identify structural issues
+
+create a scene list:
+  <read>
+  for each scene:
+    - scene number
+    - POV character
+    - location
+    - what happens
+    - what changes
+    - word count
+  </read>
+
+scene list example:
+  scene 1: maya arrives at airport, POV maya, discovers luggage lost, 1200 words
+  scene 2: maya at customer service, POV maya, meets love interest, 2500 words
+  scene 3: love perspective of same interaction, POV james, 1800 words
+  ...
+
+analyze the scene list:
+  [ ] does every scene earn its place?
+  [ ] are scenes in the right order?
+  [ ] are there missing scenes?
+  [ ] are there duplicate scenes?
+  [ ] does tension increase?
+  [ ] does each scene change something?
+
+if scene cannot answer "what changes":
+  cut it or merge it
+  or identify what it should change
+
+
+PHASE 2: DEVELOPMENTAL EDITING
+
+
+what is developmental editing?
+
+big picture revision.
+story structure.
+character arcs.
+theme integration.
+pacing and flow.
+NOT spelling, grammar, or word choice yet.
+
+developmental editing questions:
+
+the story promise:
+  [ ] what genre is this?
+  [ ] what promises does the opening make?
+  [ ] does the ending deliver those promises?
+  [ ] if promises change, is the new promise set up?
+
+example broken promise:
+  thriller opening promises suspense
+  middle becomes romance
+  ending is family drama
+  reader feels betrayed
+
+example kept promise:
+  thriller opening promises murder mystery
+  middle builds suspense and clues
+  ending reveals killer in action sequence
+  reader satisfied
+
+
+the character questions:
+
+protagonist:
+  [ ] what does the protagonist want?
+  [ ] why do they want it?
+  [ ] what stops them from getting it?
+  [ ] what do they learn by the end?
+  [ ] are they different at the end?
+
+character arc test:
+  beginning state: identify in 3 words
+  inciting incident: how does it disrupt their world?
+  midpoint: what do they believe now?
+  low point: what have they lost?
+  climax: what must they sacrifice?
+  ending state: identify in 3 words
+
+if beginning state = ending state:
+  no arc exists
+  character stayed static
+  reader may feel unfulfilled
+
+exception: static characters can work if:
+  the world changes around them
+  they reveal hidden depths
+  their stasis is the point
+  this is intentional, not accidental
+
+
+antagonist:
+  [ ] what does the antagonist want?
+  [ ] why do they want it?
+  [ ] why is their goal incompatible with protagonist's?
+  [ ] are they more than just "evil"?
+
+antagonist strength test:
+  if antagonist tried harder, would they win?
+  if yes, they're too weak
+  antagonist should be formidable
+  protagonist should earn victory
+
+antagonist motivation test:
+  can you explain why they're right (from their view)?
+  if no, they're not developed enough
+  villains are heroes of their own stories
+
+
+supporting characters:
+  [ ] what purpose does each serve?
+  [ ] are any characters redundant?
+  [ ] do any have the same voice?
+  [ ] could any be combined?
+
+character combination example:
+  character A: best friend who gives advice
+  character B: mentor who gives advice
+  combination: best friend is also former mentor
+  deeper relationship, fewer characters
+
+
+the structure questions:
+
+checkpoints:
+  [ ] inciting incident: does it disrupt the status quo?
+  [ ] plot point 1: does it launch the real story?
+  [ ] midpoint: does it shift the context?
+  [ ] plot point 2: does it start the final battle?
+  [ ] climax: does it resolve the central conflict?
+  [ ] resolution: does it show the new world?
+
+timing test:
+  inciting incident: typically by 10% of story
+  plot point 1: typically by 25% of story
+  midpoint: exactly 50% of story
+  plot point 2: typically by 75% of story
+  climax: typically by 90% of story
+
+these are guidelines, not rules.
+but significant deviation should be intentional.
+
+
+the pacing questions:
+
+tension tracking:
+  map tension level for each scene (1-10)
+  [ ] does tension generally increase?
+  [ ] are there tension valleys?
+  [ ] do valleys come after peaks (breathers)?
+  [ ] is any section flat for too long?
+
+pacing problems:
+  saggy middle: scenes repeat the same conflict
+  rushed ending: climax doesn't earn its weight
+  slow start: too much backstory before story begins
+  uneven rhythm: no variation in scene length
+
+pacing fixes:
+  saggy middle: raise stakes or cut scenes
+  rushed ending: add complications
+  slow start: start closer to action
+  uneven: vary scene lengths intentionally
+
+
+the POV questions:
+
+POV consistency:
+  [ ] is POV clear in every scene?
+  [ ] are there accidental head-hops?
+  [ ] is POV choice serving the story?
+
+head-hopping example (bad):
+  "jane felt sad. john noticed her sadness and felt guilty.
+   mary wondered why john looked guilty. steve watched them all."
+
+head-hopping fix:
+  pick one POV per scene
+  stay in one head
+  let dialogue/action show others' feelings
+
+POV selection test:
+  which character has the most at stake?
+  which character's perception changes?
+  which character has the most to lose?
+  that character gets the POV
+
+
+PHASE 3: THE CUTTING PASS
+
+
+why cut?
+
+everything should earn its place.
+every word, sentence, scene, chapter.
+readers have limited attention.
+respect their time.
+
+signs something should go:
+  [ ] you skip it when rereading
+  [ ] you forgot you wrote it
+  [ ] nothing changes during it
+  [ ] it explains what readers already know
+  [ ] you feel attached but can't explain why
+  [ ] it's "worldbuilding" with no story connection
+
+cutting targets:
+
+
+target 1: throat-clearing
+
+opening throat-clearing examples:
+  - waking up and getting ready (unless the story happens there)
+  - weather descriptions (unless weather is the antagonist)
+  - character looking in mirror to describe themselves
+  - character thinking about their backstory
+  - "this all started when..."
+
+opening throat-clearing fix:
+  start where the trouble starts
+  start where the change happens
+  start with action that matters
+  backstory can be revealed later
+
+
+target 2: false starts
+
+scene false starts:
+  - character walking/driving to location before real scene
+  - character greeting someone before real conversation
+  - character thinking about what they're about to do
+  - phone calls/doors/etc. before real interaction
+
+false start fix:
+  start scene in the middle
+  "they were already fighting when i walked in"
+
+
+target 3: redundancy
+
+same information twice:
+  - character thinks something
+  - then says the same thing
+  - narrator explains it too
+
+redundancy fix:
+  pick ONE way to convey
+  trust your reader
+  show, don't tell (then tell, then stop)
+
+
+target 4: your darlings
+
+what is a darling?
+  a scene you love
+  that doesn't serve the story
+  you keep finding ways to "save it"
+  but it doesn't fit
+
+darling test:
+  would a reader miss it?
+  be honest.
+  would the story break without it?
+  if the answer is "no"
+  cut it.
+
+darling coping strategy:
+  save it in a "cut scenes" file
+  maybe it becomes another story
+  maybe it was just practice
+  either way, it's not in THIS story
+
+
+cutting exercise:
+
+the black marker method:
+  1. print your story
+  2. use black marker to cross out
+  3. cross out everything not essential
+  4. read what remains
+  5. does story still work?
+
+if yes:
+  good cuts
+  story is stronger
+  prose is tighter
+
+if no:
+  you cut too much
+  restore some essentials
+  error on side of cutting
+
+
+PHASE 4: SCENE-LEVEL REVISION
+
+
+scene anatomy:
+
+every scene needs:
+  [ ] a goal (what does POV character want?)
+  [ ] a conflict (what stops them?)
+  [ ] a disaster (how do they fail?)
+  [ ] a change (how is the world different?)
+
+scene test:
+  can you answer these questions for each scene?
+  if you can't
+  the scene needs work
+
+scene revision checklist:
+
+scene openings:
+  [ ] does it start in the moment?
+  [ ] is the POV clear immediately?
+  [ ] is the goal established early?
+  [ ] is the reader anchored in place/time?
+
+weak openings:
+  - "it was a dark and stormy night"
+  - "jane was a tall woman with..."
+  - "little did she know that..."
+  - backstory summary
+  - nothing happening
+
+strong openings:
+  - character doing something
+  - tension already present
+  - something at stake
+  - change occurring
+
+
+scene middles:
+  [ ] is there active conflict?
+  [ ] does the character try and fail?
+  [ ] do tactics change?
+  [ ] does tension increase?
+
+weak middles:
+  - characters talking about problems
+  - characters thinking about problems
+  - characters walking around
+  - nothing meaningful happening
+
+strong middles:
+  - action with consequences
+  - dialogue that reveals and advances
+  - complications arising
+  - stakes increasing
+
+
+scene endings:
+  [ ] does something change?
+  [ ] does character have new goal?
+  [ ] is there a hook to next scene?
+  [ ] is there emotion to carry forward?
+
+weak endings:
+  - "and then they went to sleep"
+  - "and then they went to next place"
+  - scene just fading out
+  - no consequence
+
+strong endings:
+  - disaster leaves character with no good options
+  - revelation changes everything
+  - decision that will cause trouble
+  - emotion that demands resolution
+
+
+PHASE 5: LINE EDITING
+
+
+what is line editing?
+
+paragraph-level and sentence-level revision.
+focus on clarity, flow, and impact.
+not grammar yet.
+word choice, sentence rhythm, paragraph variety.
+
+
+line editing targets:
+
+
+target 1: weak verbs
+
+weak verb: to be (is, are, was, were, been)
+weak verb: to go (go, went, gone)
+weak verb: to do (do, did, done)
+
+weak verb examples:
+  "she was angry." (tells)
+  "he went to the door." (bland)
+  "they did a dance." (vague)
+
+strong verb replacements:
+  "she slammed her fist on the table." (shows)
+  "he stalked to the door." (specific)
+  "they waltzed across the floor." (specific)
+
+verb strengthening exercise:
+  <search>
+  "was [adverb]"
+  "were [adverb]"
+  </search>
+
+replace with:
+  specific action verb
+  that shows the same thing
+
+warning:
+  don't eliminate "to be" completely
+  sometimes it's the right choice
+  but make it a choice, not a default
+
+
+target 2: filter words
+
+filter words: words that filter experience through description
+
+common filter words:
+  saw, heard, felt, smelled, tasted
+  noticed, watched, observed
+  wondered, thought, realized
+  knew, believed, understood
+
+filter word examples:
+  "she saw the car approaching."
+  "he heard the clock ticking."
+  "i felt a sudden pain."
+
+remove the filter:
+  "the car approached."
+  "the clock ticked."
+  "pain shot through my arm."
+
+why this matters:
+  puts reader directly in experience
+  removes distance between reader and story
+  creates stronger immersion
+
+exception:
+  use filter words when:
+  - the act of perception is the point
+  - character is doubting their senses
+  - you want to create distance
+
+
+target 3: adverbs and adjectives
+
+not all adverbs are evil.
+not all adjectives are unnecessary.
+but most can be cut.
+
+adverb test:
+  "she walked quickly."
+  why quickly?
+  is she running? then say "she ran."
+  is she hurrying? then say "she hurried."
+  is there a better verb?
+
+adjective test:
+  "the dark, scary night."
+  what does "scary" night look like?
+  show us scary, don't tell us.
+
+specific is better than modified:
+  instead of: "very large"
+  use: "enormous" or "gigantic" or better, the actual size
+
+instead of: "very angry"
+  use: "furious" or show what they do
+
+adjective/adverb pileup:
+  "the incredibly loud, extremely bright,
+   very sudden, truly shocking explosion"
+
+revision:
+  "the explosion shattered every window
+   for three blocks"
+
+
+target 4: sentence variety
+
+sentence length variation:
+  [ ] are there multiple short sentences in a row?
+  [ ] are there multiple long sentences in a row?
+  [ ] is there rhythm and flow?
+
+variety creates music:
+  short-short-short-long
+  creates emphasis
+  builds momentum
+
+long-long-long-short
+  creates contrast
+  delivers punch
+
+read aloud.
+  your ear will hear the problems.
+  your eyes will miss them.
+
+
+target 5: paragraph breaks
+
+paragraph purpose:
+  organize information
+  create visual rhythm
+  control reading pace
+
+paragraph rules:
+  [ ] one topic per paragraph
+  [ ] new speaker = new paragraph
+  [ ] shift in time/place = new paragraph
+  [ ] shift in focus = new paragraph
+
+paragraph variety:
+  vary paragraph length
+  short paragraphs speed pace
+  long paragraphs slow pace
+  use intentionally
+
+
+PHASE 6: DIALOGUE POLISH
+
+
+dialogue revision questions:
+
+purpose:
+  [ ] does each line have a purpose?
+  [ ] does it reveal character?
+  [ ] does it advance plot?
+  [ ] does it increase tension?
+
+if a line does none of these:
+  cut it
+
+character voice:
+  [ ] could you tell who speaks without tags?
+  [ ] does each character sound distinct?
+  [ ] do they use different vocabulary?
+  [ ] do they use different sentence structures?
+
+voice differentiation example:
+  professor: precise words, complex sentences, references
+  teenager: slang, fragments, contractions
+  non-native speaker: formal, careful, occasional errors
+  child: simple words, literal thinking
+
+subtext:
+  [ ] do characters say what they mean?
+  [ ] or do they talk around the truth?
+  [ ] what is NOT being said?
+
+subtext example (no subtext):
+  "i am angry at you."
+  "i am sorry i made you mad."
+
+subtext example (with subtext):
+  "you're home early."
+  "meeting ended early."
+  "that's convenient."
+  "what's that supposed to mean?"
+  "nothing."
+
+readers enjoy figuring it out.
+don't spell out everything.
+
+
+dialogue tag cleanup:
+
+tag problems:
+  [ ] tags other than "said" or "asked"
+  [ ] adverbs in tags
+  [ ] tags that tell what's obvious
+  [ ] unnecessary tags
+
+weak tags:
+  "i hate you," he said angrily.
+  "that's great," she exclaimed happily.
+  "watch out," he warned urgently.
+  "really?" she questioned curiously.
+
+the principle:
+  the dialogue should carry the emotion.
+  if you need the tag, rewrite the dialogue.
+
+revision:
+  "i hate you." he threw the glass against the wall.
+  "that's great." her voice was flat.
+  "look out!" he grabbed her arm.
+  "really?" she leaned forward.
+
+when to use tags:
+  use "said" when necessary for clarity
+  use "asked" for questions when needed
+  otherwise use action beats
+
+action beats:
+  "i can't do this." she backed away.
+  "yes you can." he stepped closer.
+  "you don't understand."
+  "then explain it."
+
+no tags needed.
+speakers are clear.
+action is also doing work.
+
+
+PHASE 7: COPY EDITING
+
+
+what is copy editing?
+
+sentence-level technical revision.
+grammar, punctuation, consistency.
+clarity and correctness.
+this is where the rules matter.
+
+
+copy editing targets:
+
+
+target 1: comma usage
+
+common comma errors:
+  [ ] comma splices (joining two sentences)
+  [ ] missing commas before quotes
+  [ ] missing commas in compound sentences
+  [ ] unnecessary commas
+
+comma splice:
+  wrong: "she left, he stayed."
+  right: "she left. he stayed."
+  right: "she left, and he stayed."
+
+dialogue commas:
+  wrong: "hello" she said.
+  right: "hello," she said.
+
+compound sentence:
+  wrong: "she ran and he walked."
+  right: "she ran, and he walked."
+  (if both are independent clauses)
+
+
+target 2: pronoun reference
+
+pronoun problems:
+  [ ] unclear antecedents
+  [ ] shifting pronouns within sentences
+  [ ] pronoun pileups
+
+unclear pronoun:
+  "jane told mary she was wrong."
+
+who was wrong? jane or mary?
+
+revision:
+  "jane told mary that mary was wrong."
+  "you're wrong," jane told mary.
+
+
+target 3: subject-verb agreement
+
+common errors:
+  [ ] collective nouns (band, team, family)
+  [ ] phrases between subject and verb
+  [ ] neither/nor constructions
+
+collective noun:
+  "the band is playing" (singular unit)
+  "the band are fighting" (members doing something separately)
+
+separation:
+  "the box of chocolates is empty"
+  not "are empty"
+  (chocolates doesn't determine verb)
+
+
+target 4: consistency checks
+
+time consistency:
+  [ ] does time flow logically?
+  [ ] are days of week consistent?
+  [ ] do distances match travel times?
+
+character consistency:
+  [ ] do eyes stay same color?
+  [ ] do names stay spelled the same?
+  [ ] do ages match timeline?
+  [ ] do skills/abilities match backstory?
+
+location consistency:
+  [ ] do rooms stay arranged the same?
+  [ ] do distances make sense?
+  [ ] does geography work?
+
+world consistency:
+  [ ] do rules stay the same?
+  [ ] do names match across mentions?
+  [ ] do tech levels match era?
+
+create a style sheet:
+  character names with spellings
+  place names with spellings
+  significant details (eye color, etc.)
+  world rules
+  reference during revision
+
+
+target 5: show don't tell (final pass)
+
+telling examples:
+  "she was beautiful."
+  "he was angry."
+  "it was scary."
+  "they were in love."
+
+showing revision:
+  "she entered the room and conversation stopped."
+  "his face flushed, fists clenched at his sides."
+  "my hands shook as i reached for the doorknob."
+  "he'd sell his car before he'd miss her birthday."
+
+the tell then show technique:
+  sometimes tell for clarity
+  then show for impact
+  then trust the reader
+
+example:
+  "she was terrified. her breath came in shallow
+   gasps, and she couldn't stop shaking."
+
+the tell ("she was terrified") creates clarity.
+the show provides the experience.
+
+
+PHASE 8: PROOFREADING
+
+
+what is proofreading?
+
+final polish.
+catching errors.
+technical correctness.
+spelling, punctuation, formatting.
+
+this is the LAST pass.
+do nothing else during proofreading.
+do not revise content.
+only fix errors.
+
+
+proofreading technique:
+
+change the format:
+  print in different font
+  change font size
+  read on different device
+  change margins
+
+why this works:
+  your brain memorized the layout
+  format changes break the pattern
+  you see what's actually there
+
+
+read backward:
+
+sentence by sentence:
+  read last sentence first
+  then second-to-last
+  work backward to beginning
+
+why this works:
+  you see each sentence in isolation
+  you can't skim for story
+  you focus on the words
+
+
+read aloud:
+
+slow reading:
+  read every word
+  enunciate clearly
+  don't rush
+
+what you'll catch:
+  missing words
+  repeated words
+  awkward phrasing
+  punctuation that doesn't match breath
+
+
+proofreading checklist:
+
+spelling:
+  [ ] spell check run
+  [ ] proper nouns checked
+  [ ] homophones verified (their/there/they're)
+  [ ] commonly confused words checked
+
+commonly confused:
+  its/it's
+  your/you're
+  whose/who's
+  affect/effect
+  lay/lie
+  farther/further
+  compliment/complement
+  stationary/stationery
+  principal/principle
+
+punctuation:
+  [ ] periods at sentence ends
+  [ ] question marks on questions
+  [ ] quotation marks closed
+  [ ] em dashes correct (or consistent)
+  [ ] apostrophes on possessives
+
+formatting:
+  [ ] paragraph breaks consistent
+  [ ] dialogue formatting correct
+  [ ] section breaks marked
+  [ ] chapter headers consistent
+
+
+PHASE 9: THE KILL YOUR DARLINGS PASS
+
+
+the hardest revision.
+
+what is a darling?
+
+something you love
+that doesn't serve the story
+that you keep defending
+that you're scared to cut
+
+darling examples:
+  a beautiful description
+  a clever line of dialogue
+  a whole character you love
+  a subplot you enjoyed writing
+  a scene that was fun to write
+  a voice you enjoyed using
+
+how to identify darlings:
+
+your defense radar:
+  when someone critiques a part
+  and you immediately defend it
+  it's probably a darling
+
+when critique comes:
+  "this scene doesn't seem to fit"
+  your reaction: "but it establishes character!"
+
+you're defending a darling.
+the story might be better without it.
+
+
+the darling test:
+
+question 1:
+  if i cut this, does the story break?
+
+  if yes: not a darling (it's earning its place)
+  if no: proceed to question 2
+
+question 2:
+  if i cut this, is the story actually better?
+
+  be honest.
+  does the story move faster?
+  is the focus clearer?
+  is the theme stronger?
+
+question 3:
+  why do i want to keep this?
+
+  "because i like it" = darling, consider cutting
+  "because it's needed" = not a darling, keep it
+
+
+the darling funeral:
+
+how to let go:
+
+step 1: acknowledge
+  "this is my darling."
+  "i love it but it doesn't serve the story."
+
+step 2: save
+  copy to "cut scenes" file
+  you never know when it might fit
+  somewhere else
+
+step 3: cut
+  remove it from the manuscript
+  don't look back
+
+step 4: read
+  read the scene around the cut
+  does the story flow better?
+  most times, yes
+
+step 5: grieve
+  it's okay to be sad about good writing
+  that doesn't mean it belonged in THIS story
+  maybe it's its own story
+  maybe it was just practice
+
+
+darling types and solutions:
+
+darling character:
+  character you love who doesn't drive plot
+
+  solutions:
+  - give them a real role in story
+  - merge them with a character who has a role
+  - cut them entirely
+  - make them protagonist of their own story
+
+darling subplot:
+  story thread you enjoyed that goes nowhere
+
+  solutions:
+  - tie it to main plot
+  - cut it
+  - save it for sequel
+
+darling scene:
+  scene you wrote beautifully that serves no purpose
+
+  solutions:
+  - identify what purpose it COULD serve
+  - rewrite to serve that purpose
+  - cut it
+
+darling voice:
+  style or voice that doesn't fit rest of story
+
+  solutions:
+  - commit to that voice throughout
+  - rewrite to match rest of story
+  - cut the section
+
+
+PHASE 10: PACING FIXES
+
+
+pacing problems and solutions:
+
+
+problem: slow opening
+
+symptoms:
+  readers say "it gets good after chapter 3"
+  critique: "took too long to get into"
+
+causes:
+  - starting before the story starts
+  - too much backstory
+  - introducing too many characters
+  - worldbuilding before plot
+
+solutions:
+  start closer to inciting incident
+  cut first three chapters (try it)
+  weave backstory in later
+  reduce number of characters introduced
+  trust reader to follow
+
+
+problem: saggy middle
+
+symptoms:
+  - middle scenes feel repetitive
+  - tension stays same
+  - scenes could be reordered without impact
+  - reader gets bored around 50%
+
+causes:
+  - protagonist not active enough
+  - stakes not raising
+  - scenes revisit same conflict
+  - lack of complications
+
+solutions:
+  raise stakes: what's the worst that could happen?
+  add complication: make situation worse
+  cut repetitive scenes
+  add midpoint twist that changes context
+  give character new goal at midpoint
+
+
+problem: rushed ending
+
+symptoms:
+  - climax feels unearned
+  - resolution too quick
+  - loose ends barely addressed
+  - reader feels cheated
+
+causes:
+  - spent too much time on beginning
+  - didn't plan enough space for ending
+  - tired of writing by the end
+  - too many threads to resolve
+
+solutions:
+  expand climax scenes
+  add complications to final battle
+  give more space to resolution
+  cut earlier material to make room
+  address each subplot properly
+
+
+problem: uneven rhythm
+
+symptoms:
+  - fast-fast-fast-slow-fast
+  - tension spikes randomly
+  - reader exhausted then bored
+
+solutions:
+  map tension levels scene by scene
+  ensure gradual increase overall
+  place breathers after peaks
+  don't let multiple climaxes blur together
+  build to final climax, not multiple equal ones
+
+
+PHASE 11: CONSISTENCY PASS
+
+
+the continuity check.
+
+timeline:
+  [ ] does time flow logically?
+  [ ] do days of week match?
+  [ ] do seasons match events?
+  [ ] do ages match story timeframe?
+
+create timeline:
+  day 1: events
+  day 2: events
+  day 3: events
+  ...
+
+verify distances:
+  if characters travel from a to b
+  how long does it take?
+  does your timeline match reality?
+
+character continuity:
+  [ ] names spelled consistently?
+  [ ] descriptions consistent?
+  [ ] abilities consistent?
+  [ ] knowledge consistent?
+
+knowledge tracking:
+  what does each character know, when?
+  if character learns something in chapter 5
+  they can't know it in chapter 3
+
+world continuity:
+  [ ] rules of magic/tech consistent?
+  [ ] political situation consistent?
+  [ ] geography consistent?
+  [ ] history consistent?
+
+create world bible:
+  rules
+  locations
+  characters
+  history
+  check this during revision
+
+
+PHASE 12: FINAL POLISH CHECKLIST
+
+
+the final questions:
+
+story level:
+  [ ] does story fulfill its promises?
+  [ ] does protagonist change?
+  [ ] is ending earned?
+  [ ] is theme clear without being preached?
+  [ ] would reader want to read this again?
+
+character level:
+  [ ] are characters distinct?
+  [ ] are motivations clear?
+  [ ] is dialogue unique to each?
+  [ ] do characters make decisions (not just react)?
+  [ ] do readers care what happens?
+
+scene level:
+  [ ] does every scene earn its place?
+  [ ] does every scene have conflict?
+  [ ] does every scene change something?
+  [ ] do scenes flow logically?
+  [ ] is scene variety sufficient?
+
+sentence level:
+  [ ] is word choice precise?
+  [ ] is sentence structure varied?
+  [ ] is paragraphing purposeful?
+  [ ] are filters removed?
+  [ ] are weak verbs strengthened?
+
+mechanics level:
+  [ ] is spelling correct?
+  [ ] is punctuation correct?
+  [ ] is grammar correct?
+  [ ] is formatting consistent?
+  [ ] are proper nouns consistent?
+
+
+the read-aloud test:
+
+read your entire manuscript aloud.
+
+this is the best test.
+your ear catches what your eye misses.
+
+what you'll hear:
+  awkward phrasing
+  repetitive words
+  missing words
+  wrong words
+  rhythm problems
+  dialogue that doesn't sound real
+
+read slowly.
+read every word.
+mark problems.
+fix them all.
+
+
+PHASE 13: BETA READ PREPARATION
+
+
+your work is done.
+now you need fresh eyes.
+
+before sending to readers:
+
+[ ] complete all revision passes
+[ ] run spell check (final)
+[ ] proofread thoroughly
+[ ] save final version
+[ ] create backup
+
+what to ask beta readers:
+
+specific questions:
+  - where did you get bored?
+  - where did you get confused?
+  - where did you stop believing?
+  - what did you want more of?
+  - what did you want less of?
+  - who was your favorite character?
+  - who did you not like?
+  - did the ending satisfy?
+
+NOT questions:
+  - "did you like it?"
+  (not useful)
+  - "is it good?"
+  (too vague)
+
+you want specific feedback.
+you want to know where to focus next revision.
+
+
+receive feedback gracefully:
+
+rule:
+  listen to everything.
+  take notes.
+  don't defend.
+  don't explain.
+
+when feedback stings:
+  remember: they're trying to help
+  remember: you don't have to use everything
+  remember: if one person says it, it's their opinion
+  remember: if three people say it, it's a problem
+
+after feedback:
+  organize by type
+  organize by frequency
+  make revision plan
+  repeat revision process
+
+
+PHASE 14: WHEN ARE YOU DONE?
+
+the revision trap:
+
+can you revise forever?
+yes.
+should you?
+no.
+
+signs you might be done:
+
+  [ ] beta feedback is minor
+  [ ] you're making changes that undo previous changes
+  [ ] you're revisiting solved problems
+  [ ] you're changing things back and forth
+  [ ] you're bored with your own story
+
+the perfect is the enemy of the good:
+
+at some point:
+  declare victory
+  submit/publish
+  move to next project
+
+you'll be a better writer
+by the time you finish next project
+you can't fix everything in one story.
+
+every story is a stepping stone.
+learn from it.
+move forward.
+
+
+PHASE 15: REVISION RULES (STRICT MODE)
+
+
+while this skill is active, these rules are MANDATORY:
+
+  [1] NEVER edit while drafting
+      drafting is creative
+      editing is analytical
+      they don't mix
+      finish draft first
+
+  [2] WAIT before editing
+      let draft rest
+      minimum 1 week for short work
+      minimum 2 weeks for novel
+      fresh eyes see more
+
+  [3] BIG picture first
+      fix structure before sentences
+      fix character arc before dialogue
+      fix pacing before word choice
+      wrong structure + perfect sentences = still broken
+
+  [4] BACKUP before changing
+      save original
+      work on copies
+      never lose your starting point
+
+  [5] CUT without mercy
+      if it doesn't serve the story
+      cut it
+      save to separate file if needed
+      but remove it from the story
+
+  [6] READ aloud
+      at least once
+      more is better
+      your ear catches what eyes miss
+
+  [7] TRUST beta readers
+      if multiple people say the same thing
+      they're right
+      don't defend
+      fix it
+
+  [8] KNOW when to stop
+      revision can continue forever
+      at some point: declare done
+      ship the work
+      start the next one
+
+
+FINAL REMINDERS
+
+
+revision is where stories become good.
+
+first drafts are messy.
+that's okay.
+that's necessary.
+you can't fix a blank page.
+
+revision is the real work.
+revision is where craft meets art.
+revision is the difference between
+"i wrote a novel" and
+"i wrote a GOOD novel."
+
+
+your darlings will die.
+
+you will cut beautiful things.
+you will kill characters you love.
+you will remove scenes you labored over.
+
+this is not failure.
+this is serving the story.
+
+the story is more important
+than any part of it.
+
+
+the goal is the reader's experience.
+
+every revision decision should answer:
+  does this make the story better
+  for the reader?
+
+not: do i like this?
+but: does it serve the story?
+
+your ego is not your friend here.
+the story is king.
+
+
+revision is discipline.
+
+it is hard work.
+it is tedious work.
+it is necessary work.
+
+anyone can write a first draft.
+few can revise a draft into a story.
+
+be one of the few.
+
+
+now go finish that draft.
+then start the real work.