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 Online Workshop
Editor's Checklist for Revising Short Fiction
 One way to approach short
fiction is to write the first draft of the story in one sitting and revise over time. Before sending your work, use the following "preflight" checklist:
- Character
development and arc: Does the main character change noticeably, albeit subtly,
organically and believably? If the character doesn't change, is the reason for
her stalled growth clear and understandable?
- Characters
(primary): Is the primary character original, believable and, if not likeable,
then comprehensible? Is his relationship to other characters clear and integral
to the story?
- Characters
(secondary): Do secondary characters stand in their own right, without
overshadowing the story's main squeeze? Is the secondary character original,
believable and, if not likeable, comprehensible? Is her relationship to the
main character clear?
- Conclusion:
Is the end of your story satisfying, possibly hoped for, but not anticipated,
without being obvious?
- Emotional
center or heart, emotional truth: Is the emotional center, the heart of the
piece, clear? This doesn't mean the pivotal point of the piece is overt, necessarily,
but if the emotional core isn't clear, the story will meander and lose readers
on the way.
- Metaphor:
Metaphors use images, stories or objects to represent less tangible things, or
intangible qualities or ideas; for example, "Her eyes were glistening
jewels." Are your metaphors original, well-placed and aptly timed, without
being heavy handed?
- Motif:
A motif is a recurring subject, theme, idea, object, concept or word that
typically represents a deeper concept. Like metaphors, motifs should be
original, well-placed and aptly timed, not heavy handed.
- Plot:
Does your plot move forward at a good pace and progress in a way that is
satisfying, like music?
- Simile:
A simile compares two unlike things; for example, “She is like a rose.” Similes,
like motif and metaphors, should be original, well-placed and aptly timed, not
ubiquitous or clichéd.
- Story:
Is the story engaging, immediate (drawing the reader in), original?
- Subplot:
Even a short piece can have a subplot. Does the secondary story overshadow or
confuse the main story? It should enhance it, either by contrast or comparison.
- Theme:
If you had to describe your story in a sentence, could you?
- Tone,
mood and voice: Tone is the attitude of your prose toward the subject and audience.
It can be formal, informal, intimate, solemn, somber, playful, serious, ironic,
guilty or more. Tone and mood aren't interchangeable. Tone often is defined as
what the author, feels toward the subject and mood as what the reader feels toward
the subject. The writer's voice is his or her individual style. Voice is a
combination of the writer's syntax, diction, punctuation, character
development, dialogue, etc., in a text or across several works. Is the tone
consistent? Is the mood appropriate? Is the voice original and consistent? A
writer's style covers all his or her work, although he may alter his narrative
voice to suit each project. Voice is subordinate to style.
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