Let’s Write – The Structural Edit: Plot & Setting

We kicked off this series about the basics of self-editing in last week’s post. For the next few weeks, we’ll discuss the first step of self-editing, the structural edit.

Structural or developmental editing is the phase of the editing process where we focus on the individual elements of our stories and ensure that each fits with the whole.

We’ll search for elements that damage the logic, hinder effective storytelling, and confuse or annoy readers. Once we’ve found those issues, we’ll cut or rewrite.

Structural editing doesn’t typically focus on grammar and word choice, but we all edit differently. Some authors find that grammar and word choice editing influences how well they can accomplish the structural edit, and leave that for later in the process. Others can’t help but fiddle with grammatical issues throughout the process. No matter how we edit, it isn’t wrong!

Today, we’ll look specifically at:

Plot and Setting.

During the next few weeks, we’ll tackle:

Characters
Flow and Pace
Conflict and Resolution
Voice and Style

Let’s get to it, shall we?

Plot and Setting

Plot

We want our stories to be logical, without plotholes, but we’re often so close to the story that identifying issues becomes near impossible. So, how do we remove our rosy goggles to edit our precious stories?

* Questions

Questioning everything forces us to consider issues from different angles, and often reveals possible plotholes before we notice them.

These are the kinds of things we might ask ourselves:

Is this storyline at least a little plausible?
Does the story make sense?
How will the reader understand this story/element?
Will this story/element confuse/excite/*insert emotion* the reader?
If I read this story/element in another book, how would it make me feel?
Would the plot progress in the same way if *this element* didn’t happen or happened differently?
How much of the plot depends on chance?
Is this scene/character necessary to advance the overall story?
Is there a simpler way to resolve conflict?
Which skills would the characters need/need to learn to resolve conflict?
What is the worst thing that could happen in the story?
What is the best thing that could happen in the story?
What motivates each character?
What would happen if the antagonist got there first?
What would happen with a different protagonist?
What if the romantic plot took place between different characters?
Would the protagonist solve problems differently if they were older/younger/had a different origin?
Will this *element* strike the reader as out of the blue?

Finding answers to these (and other) questions will streamline the rest of the structural edit because we’ll look at the plot with a greater understanding of what absolutely must happen, and what isn’t essential. Think of it as a map showing us the best route to our destinations.

Which questions do you ask yourself during this step? Let’s chat in the comments!

* Brainstorming

But what if the questions we ask cause more questions?

When I’m stuck in What If Land, brainstorming with someone who knows the plot intimately is a lifesaver. My alpha and beta teams ask different questions and come up with new answers to old questions, challenging or enhancing the way I think.

And looking at story elements with a fresh perspective is crucial to problem-solving.

This is one of my favourite soap boxes, but I strongly recommend working with alpha or beta readers (or both) before we send our manuscripts to our editors. Even if just one other set of eyes scans our manuscripts, their feedback will undoubtedly help plug plotholes we didn’t know existed.

I self-edit repeatedly during the writing process, before and after I send the manuscript to my alpha and beta readers or my editor.

If you’d like to read more about alpha and beta readers or learn how to implement feedback, I have some great posts!

* Tropes

Understanding the typical tropes of our genres is crucial. Certain tropes attract certain audiences, which means readers will expect specific events/characters in our stories.

Knowing which tropes appeal to our target audiences can simplify the structural edit because we have basic guidelines about how the story should look. If questioning gives us a map, tropes fill in the landmarks and streets we should travel.

Better yet if we find ways to twist those tropes so they still appeal to our audiences, but reflect our unique storytelling styles.

Here are some of my older posts about tropes:

* Foreshadowing

Love or hate it, foreshadowing can be a powerful storytelling tool.

I’m part of Team Foreshadowing because, as a reader, I loathe ‘and then, suddenly’ storytelling.

For example. Miss Mulberry and Professor Peacock are arguing. Suddenly, she grips a candlestick, and she doesn’t question from whence the weapon came as she bludgeons the professor to death.

Mighty convenient for her, but I’m instantly pulled out of the story. Where did she get this weapon? Did she summon it? Is she magical? Is spontaneously developing powers normal in this world?

But if Miss M noticed the candlestick three chapters prior and I know it’s in the room, I’ll be happy to read about the professor’s demise, even if I forgot about the object.

Writing gurus suggest mentioning an element two to three times throughout the story to make it stick in the back of the reader’s mind.

What should we foreshadow?

Elements that the beta readers flag as out of nowhere, or confusing.
Objects that the character will use in a scene.
Events that happen off-screen but will eventually impact the plot.
The abilities of characters. Also, their habits, dreams, motivations, and faults. Readers won’t buy it if Pete can fly a helicopter in chapter 50, but this skill wasn’t even mentioned in the other 49.
Objects, plot twists, characters, or events that alter the plot. Eg, if the pendant her mother gave her is crucial to resolving conflict, the reader must see her toying with that pendant, finding it, losing it, etc.

Setting

We writers typically choose the setting of the story before we start writing, but I’ve met the odd author who had to rewrite the story’s location to suit the story they ended up telling.

But more than just location, we should consider the inner workings of this world.

Again, we’ll ask some questions.

Does the setting promote the story?
Does the setting strengthen the characters? Does it hold them back?
Will the target audience understand this place?
Do the politics and hierarchy make sense?
What are the issues of this world? Do these issues mirror real life?
Does the magic system have limitations, or does it make the protagonist OP?
How about the tech? If it’s made-up tech, does it at least seem possible?
Do the people of this world have a plight? Motivation? Do they feel real?
If the setting is our world, is it realistic? Does it suit the time of the story?

Once we know how the plot impacts the world, we’ll have a clearer idea of where we need to go.

And that’s our post for today! I can’t wait to see you again next week, when we’ll chat about characters.

Yolandie