No writer likes facing down an entire page of edits — much less a whole book’s worth. Whether you just received feedback from a writing group, your writing coach, or the editor shepherding your book through the publication process, editing is challenging work.
Best case, you were so wrapped up in the fun of writing that oops — you forgot to keep the antagonist’s name the same throughout. That’s a relatively easy fix.
Or, somewhat more concerningly, a workshop group feels confused about why the protagonist—who is so ambitious and loves her job—has such an easy time deciding to quit.
The good news, regardless of whether the edits are cosmetic or structural, revision is sometimes where magic happens in creative writing. It’s a craft in itself, allowing you to make new connections, play with language, and improve your work.
This “messy middle” between drafting and publishing is a craft in its own right. Revision builds your creative and craft resiliency, a skill you’ll need throughout your writing career. Publication is a marathon, not a sprint, even where essays and short fiction are concerned.
My friend Jonathan Evison wrote and discarded six novels before he got one published. Stephen King, famously, also threw a few away. I threw away two and a half books. I also threw away at least a dozen short stories before I wrote (and edited!) one that was publishable.
As the writer Colette said, “Put down everything that comes into your head and then you’re a writer. But an author is one who can judge his own stuff’s worth, without pity, and destroy most of it.”
Apply these practical strategies to stay motivated and strong through the process.
13 Motivation Hacks for Revision
First, let’s set the stage. You must take time away from the draft before revising. It’s completely normal to be so proud you finished a first draft that you think it’s “perfect” or “close enough to perfect” or “close enough to close enough to perfect.”
Distance can help you reduce any internal defensiveness and objections over your darling’s perfection. Then you can try one or several of these approaches.
Whether the revision is lighter or heavier, try these tricks:
- Start with the macro-edits: Begin with big-picture structural edits, such as the story arc and character development. If the voice or POV needs changes, make those decisions and ensure you’re comfortable with the new approach. Think of this first phase as the preliminary work, some of which might be more about making decisions or committing to a plan than actually changing the words on the page.
- Try reverse outlining: After drafting, create an outline based on the draft to clearly see the structure. The outline often describes basic narrative beats, including which characters are present in this part of the story, when it occurs, and what is the general source of tension here. With this information, you can step back and see how the book or piece flows—are the sources of conflict changing too often, not often enough? Are there characters who come and go, and is that okay?
- Move closer, and then work in smaller chunks: Once you’ve made major decisions and created an outline or map to your piece, turn your editing plans into reality. Work in small sections. “Revise one scene,” or “rewrite the opening five pages completely,” not “make the protagonist likable.” Micro-sessions of 20 minutes, focused on specific issues, are much more manageable. I generally work in a new document, even for relatively light edits. I name the document according to the date I’m working.
- Track victories, not flaws: keep a log of what’s working in your piece (phrases, feedback wins, breakthroughs).
- Change your medium: Change the font (Comic Sans, anyone?), print out your work, read it aloud, or annotate on paper for a fresh perspective. Or change the document to a PDF—the software that reads PDFs aloud is more human-like and realistic than the one within Microsoft Word. Some writers I know save their documents as PDFs, and then listen to their writing while doing something else (keep a notebook nearby to note issues that should be addressed).
- Use rewards: Treat yourself to a reward after achieving a milestone, such as completing a chapter or finishing a round.
- Keep a “scrap file:” So nothing feels wasted. When you cut something out of a draft, add it to this scrap file. Sometimes cut material resurfaces elsewhere. In a recent panel with Vanessa Hua and Jon Hickey, we each described our file where we store cut work we hope to resurrect later. My file is called “Cut Jewels.” Vanessa’s is called “Scrap,” like kitchen scraps that can become a different meal later.
- Edit in a new physical location: Some of us need to separate the dreamlike “writing” phase from a more workmanlike “editing” phase. You may find editing at the kitchen table or in a cafe is more productive, more focused, and less frustrating.
- Balance revision with new writing: Keep creating fresh material alongside editing so the work feels alive.
- Seek inspiration: Reread works that inspired what you’re writing (this can also be slightly depressing, if the source work is overly excellent, so apply this medicine carefully). Also, reread past acceptance letters or positive feedback – a reminder that editors do see value in your words. I also sometimes write a brief description of my project that includes what I love about this idea, which I keep on hand to remind me of what I’m doing and why.
- Remember the readers. A book, ultimately, is not about you. It’s for the reader. Imagine clearly who might be moved, entertained, or changed by your finished work.
- Swap “revision check-ins” with peers: Instead of critiquing, report progress for accountability. Try to lean on your community for encouragement, including your critique partners, writing groups, or trusted readers.
- Attend readings or literary events: Hearing others share polished work can reignite your belief in the process.
About the Author
Peter Mountford is a sought after writing coach and instructor. He is the author of the novels A Young Man’s Guide to Late Capitalism, and The Dismal Science. His work has appeared in the New York Times (Modern Love), Paris Review, Southern Review, The Atlantic, The Sun, Ploughshares, and Guernica. He teaches at University of Nevada, Reno at Lake Tahoe’s MFA, and through Mountford Writing. His latest book, a collection of stories called Detonator, was released September 2025.