–quote from The Lovesong of J. Alfred Prufrock (from, T.S.Eliot:)

I agree with the usual processes mentioned for revision. Personally, I find revision is like unconsciously shining a light on successive parts of the manuscript, so revisions are illuminated by realisations that grow the text as the complete picture develops. Line edit, reading aloud, structural edit etc. take time and we can apply various structural models to assist us, such as the Heroes’ Journey and the traditional narrative structures, but I need, like others, to allow the manuscript to rest, so I can ‘see’ the entire work.

I liken the situation of completing the first draft to a state of short sightedness as we are too close to the material we have created and need to wait until we can see the whole, which may take months. If we have discovered an effective voice, the first draft may have been fluidly and quickly composed, which is a terrific skill and comes with practice. When the structure is in place, we may refine the syntax, but once the basic structural edit has been done, the second draft onward is , in my view, about the dynamic of the whole, which details to delete, minimalise and which to emphasise, so the text is
cohesive, unified and dynamic, engaging and thought provoking. This process of realisations protects the author, and enables us to avoid sometimes dangerous pitfalls.

Now we may discover our priorities and emphases clearly. This series of decisions about emphases may be a long journey with many realisations, I have found. So during each part of the revision process, I perceive which aspects are important, even in texts that appear simple at first. When we write and plan, we ought to know what to emphasise, we would expect, but as we discover our content in greater complexity, we may find a deeper understanding of our material leads us to emphasise new and important aspects of the narrative, originally unforeseen.

I would argue, the revisions need to continue until the text emerges as a whole, fully defined, fully realised–and the muse (reflection developed with education) stops presenting alterations and developments. The novel is still and fully emerged. As Eliot writes ‘endless revisions’ are sometimes necessary. I have the experience of a door closing, perhaps an ornate, carved door, or one of distressed green lacquer –each door different from the one before–thus the unconscious highlights the magnitude of the achievement, and I view it as a work of art. I guess I am a perfectionist, my concepts form workable creations and reflecting values and unity. So I revise extensively, endlessly.