What I Fix First When I Revise a Manuscript
Revision is where books are made.
Drafting gets all the credit because it’s visible and exciting, but revision is the unglamorous work that turns a story into something solid, intentional, and ready for readers.
I get asked a lot how I revise—and more specifically, what I look at first. The answer isn’t commas or word choice. It’s never commas. I think we all collectively hate commas.
Here’s exactly how I approach revision, step by step, and what I focus on before anything else.
I Start With a Printed Manuscript (Always)
My first round of edits is always done by hand on a printed manuscript.
After staring at a screen for months while drafting, your brain starts filling in gaps that aren’t actually there. On paper, I catch things I would absolutely skim past digitally—missing beats, awkward transitions, repetition, and pacing issues.
I also use highlighters to color-code my edits during this stage and write notes off to the side in pen. Color-coding helps me quickly see patterns—where pacing slows, where motivation weakens, or where emotional beats need strengthening.
If I notice grammar issues, I do fix them, but I’m not actively hunting for commas or line-level polish on this first pass. This stage is about seeing the story clearly, not perfecting the prose.
There’s something about slowing down and physically marking up the pages that forces me to see the story again.
I Revise Chapter by Chapter (Not All at Once)
I learned this the hard way.
Early on, I tried hand-editing an entire manuscript before inputting any changes. By the time I sat down to update the document, it felt overwhelming and almost impossible to start.
Now, I revise one chapter at a time:
Hand-edit a chapter
Input those changes digitally
Move on to the next chapter
This keeps revision manageable and prevents burnout. It also lets me address ripple effects early instead of discovering them fifty pages later and having to go backward.
I also suggest over-highlighting instead of under-highlighting. If you have any confusion around the timeline, character motivation, or continuity, note it. That way, if something comes up later, you aren’t hunting it down—you’re flipping back to a clearly marked page.
My First Pass Is Always Big Picture
During my first revision pass, I’m not worried about pretty sentences. I’m looking at whether the story works.
These are the questions guiding that first round:
Are there any plot holes?
Do the characters have clear, strong motivation?
Does each character experience meaningful development?
Is the timeline consistent and believable?
Does the pacing feel right, or does it drag or rush?
If something feels off, I don’t try to polish it. I dig into why it’s off.
You also aren’t going to perfect everything here—and that’s okay. Get it as close as you can, do your absolute best, and then send it to your editor.
It’s also okay to tell your editor if you’re struggling with a particular scene, emotion, or section of the book. Sharing your concerns up front can lead to really helpful suggestions. Sometimes they’ll even tell you something works beautifully when you weren’t sure—and that reassurance is always nice.
The only exception for me is when I’m working with an editor for the very first time and want to see how they approach my writing without guidance. That’s not tricking them—please don’t do that—but it is a way to see if they’re a good fit for your style.
This isn’t a moment to say, “You missed this—we’re never working together.”
It’s a moment to reflect on your concerns and see how another professional engages with your work.
Once the Big Picture Is Solid, I Bring in My Editor
After that first pass is complete and all the changes are updated digitally, I send the manuscript to my editor.
At this point, I want professional eyes on the story as a whole—someone who can see what I’m too close to notice.
When I get those edits back, I work through them digitally, making the necessary changes and decisions. Then I send it back for a second pass.
Revision is a conversation, not a one-and-done process.
Take note of how your editor charges. Most editors I’ve worked with include two passes. Anything beyond that may cost more.
If you still feel like you need multiple additional rounds, it might be a sign that something larger isn’t working. I’d recommend stepping away for a couple of weeks and coming back with fresh eyes.
Some books need deep developmental work. Some books need to be shelved for later—or maybe never revisited at all. That’s okay. None of this means you failed.
Sometimes the answer really is: write the next book.
The Final Step: Proofreading (With Fresh Eyes)
Once I’ve completed my editor’s second round and updated the manuscript, I do one final proofreading pass.
This is usually done by someone other than my editor.
Fresh eyes catch typos, missing words, and small punctuation errors. While those details may seem minor, they make a huge difference in how professional a book feels.
There are proofreaders you can hire—and I usually do—but this step doesn’t need someone deeply trained in grammar. That should already be handled. This pass is about readability, formatting, and overall polish.
I don’t believe in skipping this step.
No book is ever going to be perfect. Plenty of authors do all of this and still find the occasional typo later. The goal is to put out the best book you possibly can.
A Note on Beta Readers
I get asked a lot about beta readers during revision.
For me, two beta readers is plenty. I’ve worked with the same two readers since Soul Jumper, and that consistency matters to me more than volume.
You can have too many beta readers. When feedback starts contradicting itself or piling up endlessly, it becomes overwhelming and difficult to implement.
Here’s how I look at beta feedback:
If everyone says the same thing, it’s probably worth addressing
If opinions vary wildly, the decision is still yours
Beta readers are not editors, and they don’t replace professional editing. They’re there to give reader reactions—did they enjoy the book, where did they hesitate, what pulled them out of the story.
If you’re using people you know, they need to be honest. Praise alone won’t make your book better. These are your first readers, and they’re seeing the rawest version of your draft.
You don’t have to implement all feedback, but you should think through each piece before saying no. Some of my favorite revisions came from a beta reader asking a simple question that led to a much stronger solution.
Loving the Book All the Way Through
This process takes time. You’ll read your book so many times you might feel like you never want to look at it again.
But—in my opinion—you should still love it.
Even when I am so ready for a story to be done, I still love it. If you don’t, pause and ask why. That discomfort often points to a deeper issue worth fixing.
Revision isn’t just about finishing.
It’s about finishing something you’re proud of.
Why This Order Matters
Revision isn’t about fixing everything at once. It’s about fixing the right things in the right order.
Big-picture story problems will always matter more than beautiful prose. Once the foundation is strong, the details fall into place far more easily.
Revision doesn’t mean you failed at drafting.
It means you care enough to make the story what it’s capable of being.
If this was helpful: I’d love to know how you approach revision—or where you tend to get stuck. You’re welcome to share in the comments, or reach out privately at shalanabattles@gmail.com.
