The never-ending editing draft...(this took five months🫠) | WRITING VLOG

Revisions for ShaelinWrites’ animal-sense manuscript (formerly Salt Birds) are entering a long, multi-draft stretch—driven less by plot mechanics than by voice, pacing, and how intricate relationships land with readers. The central priority is line-level development: the draft’s language needs more “sparkle” and electric intensity, especially in the early chapters, where the author has already made meaningful tweaks that make the prose feel more alive and tonally aligned with the story’s weird, new-age-tinged atmosphere.

Work begins with a reset of expectations: one messy subplot thread may be cut or radically reworked later, but the author is choosing to postpone that uncertainty while pushing through clearer edits first. That approach reflects a broader editing philosophy—accepting that not everything can be fixed in a single pass. The author frames the project as requiring several rounds of developmental editing, not one heavy overhaul followed by lighter polishing. Even with substantial improvements, some sections remain “glaring” problem areas, and reader feedback is expected to be necessary not just to confirm what’s working, but to diagnose where the story fails to convey the intended meaning.

Chapter-by-chapter progress shows a pattern: early chapters tend to move slowly at first, then accelerate once the author hits a groove. By the time edits reach the middle of the book, the author is finding “juicy” plot development and feeling energized, even while worrying that certain slow sections may actually be too slow on the page—an issue the author suspects could require condensing. Part two is singled out as a recurring trouble spot: editing it previously improved quality, but pacing still might be dragging, and the ending’s final scene still doesn’t feel right.

The manuscript’s structure is also under reconsideration. The author is considering removing the “parts” framework and relying instead on titled chapters to create a smoother, continuous arc in the published format. Chapter titles are not just decorative; they’re tied to the book’s aesthetic goal—an uneasy new-age vibe. The main character’s world includes spiritualist themes even when the protagonist doesn’t fully buy into them, and side character Susanna is described as reading pop psychology and referencing the law of attraction. Titles (including some named after tarot cards) are intended to reinforce that thematic atmosphere and cohesion.

Despite moments of strong conviction—roughly a third of scenes that feel fully real to the author—other portions still don’t land with the same impact. The author estimates the draft is around 70% complete, with about a third of scenes “incredible,” another third mixed, and the remainder not yet convincing enough for a reader. The next draft plan includes removing an entire plot thread, condensing where possible, and replacing certain causal beats with new ones that tie into existing threads. The author also uses a color-coded chart to track chapter readiness (complete, strong, okay, weak), then targets weak chapters for restructuring—especially chapters 11 and 13, where a subplot currently feels inconsequential.

Alongside the editing grind, the author reports a rare experience: a revision day that felt like drafting in flow state, turning underwritten scenes into more nuanced, convincing material. Still, the work is expanding in scope, with deadlines shaped by travel (including a Southeast Asia trip) and the intention to finish this project before starting the next. The immediate goal is to stabilize voice, tighten chapter arcs, and set up the manuscript for the feedback stage where relationship intricacy can be tested against real reader interpretation—particularly how well the emotional and thematic intentions are conveyed.