FIRST DRAFT: Discovery
   You're finding out what the story is.
   It's messy. It's supposed to be.

REVISION: Delivery
   Now you know what it is.
   Make the reader experience it.

CREATOR MODE (First Draft):
   - Generate freely
   - Follow impulses
   - Don't look back
   - Quantity over quality

EDITOR MODE (Revision):
   - Evaluate ruthlessly
   - Cut freely
   - Shape intentionally
   - Quality over quantity

These are different brains. Don't mix them.

Don't try to fix everything at once.
Each pass has ONE focus.
Multiple passes = comprehensive revision.

╔═══════════════════════════════════════════════════════════════════╗
║                    THE SEVEN PASSES                                ║
╠═══════════════════════════════════════════════════════════════════╣
║                                                                    ║
║   PASS 1: STRUCTURAL     │ Does the architecture hold?            ║
║   PASS 2: CHARACTER      │ Are arcs clear and consistent?         ║
║   PASS 3: SCENE          │ Does each scene earn its place?        ║
║   PASS 4: DIALOGUE       │ Voice, subtext, function?              ║
║   PASS 5: PROSE          │ Line-level quality?                    ║
║   PASS 6: CONTINUITY     │ Any contradictions?                    ║
║   PASS 7: POLISH         │ Final read-through                     ║
║                                                                    ║
╚═══════════════════════════════════════════════════════════════════╝

□ Is the premise clear within the first 10%?
□ Does the inciting incident disrupt the normal world?
□ Does the protagonist have a clear want?
□ Do stakes escalate through the middle?
□ Is there a clear midpoint shift?
□ Is the dark night truly dark?
□ Does the climax pay off the setup?
□ Does the ending resolve the central question?

SYMPTOMS: Boring, episodic, characters seem passive
CAUSES: Stakes not escalating, no clear midpoint
SOLUTIONS:
- Raise stakes at each major beat
- Add ticking clock
- Force irreversible decisions
- Add midpoint reversal

SYMPTOMS: Resolution feels unearned
CAUSES: Not enough buildup, deus ex machina
SOLUTIONS:
- Plant earlier seeds
- Extend climax sequence
- Let characters earn victory
- Add aftermath

SYMPTOMS: Takes too long to engage
CAUSES: Too much setup before hook
SOLUTIONS:
- Start later in the timeline
- Begin with action
- Delay exposition
- Create immediate question

Create a single line for each chapter:
"Chapter 1: [Protagonist] [action] → [outcome]"

Read the map. Does it escalate? Build? Flow?

List every event in chronological order.
Check for:
- Impossible timing
- Missing time
- Pacing irregularities

□ Is the protagonist's want clear?
□ Is their need different from their want?
□ Does their wound affect their behavior?
□ Does their mask crack during the story?
□ Is the antagonist's perspective justified?
□ Do supporting characters have distinct functions?
□ Do characters change (or meaningfully resist change)?
□ Are character decisions consistent with psychology?

1. Write their Character Diamond
   - Want, Wound, Mask, Need

2. Track their arc
   - State at start
   - Key change moments
   - State at end

3. Check consistency
   - Would they really say/do this?
   - Does behavior match psychology?

SYMPTOMS: Things happen TO them, not BECAUSE of them
SOLUTIONS:
- Give them more agency
- Make them cause consequences
- Force decisions that matter

SYMPTOMS: Pure evil, no depth
SOLUTIONS:
- Give them justified worldview
- Add sympathetic element
- Make them the hero of their story

SYMPTOMS: Characters act out of character
SOLUTIONS:
- Track psychology through story
- Establish reason for change
- Make exceptions feel earned

□ What changes in this scene?
□ What is the POV character's goal?
□ What obstacle do they face?
□ Does the scene serve multiple purposes?
□ Could this scene be cut? Merged?
□ Does it start too early? End too late?
□ Does it propel to the next scene?

List:
1. What MUST the reader learn here?
2. What changes?
3. Why can't this be cut?

If no good answers → cut or merge.

ESSENTIAL: Story breaks without it
   → Keep and strengthen

USEFUL: Adds value but not critical
   → Keep if pulling weight

DECORATIVE: Nice but not necessary
   → Cut unless exceptional

REDUNDANT: Duplicates another scene
   → Merge or cut

□ Can you tell who's speaking without tags?
□ Is there subtext (not on-the-nose)?
□ Does each line serve a function?
□ Are speech patterns consistent?
□ Is there conflict or tension?
□ Does dialogue sound natural when read aloud?

If it sounds wrong, it is wrong.
If you stumble, readers will too.
If it's boring to read, it's boring.

Cover the dialogue tags.
Read only the lines.
Who's speaking?

If you can't tell → voices too similar.

"I'm so angry at you for betraying me."
→ Find the subtext
"Did you enjoy the party? I cleaned for three hours."

"As you know, Bob, we've been partners for ten years."
→ Cut or dramatize through conflict

All characters sound the same
→ Create distinct voice profiles
→ Vary vocabulary, rhythm, focus

□ Are there unnecessary words to cut?
□ Are sentences varied in length?
□ Is the verb tense consistent?
□ Are there clichés to replace?
□ Is the prose clear?
□ Does style match tone?
□ Are there repeated words close together?

FLUFF WORDS TO ELIMINATE:
- very, really, quite, rather
- just, that (often unnecessary)
- began to, started to (just do the action)
- seemed to, appeared to (commit or don't)
- in order to (just "to")
- the fact that (cut entirely)

EXAMPLE:
"She began to very carefully walk toward the door"
→ "She crept toward the door"

WEAK: "He walked slowly across the room"
STRONG: "He shuffled across the room"

WEAK: "She said angrily"
STRONG: "She snapped"

Find the precise verb. Cut the adverb.

Long sentences slow pace, allow complexity,
give the reader time to absorb and consider
what's happening in this particular moment.

Short sentences speed up.
They hit hard.
Tension builds.
Impact.

Vary for rhythm.

□ Character descriptions consistent?
□ Timeline makes sense?
□ Geography/layout consistent?
□ Names spelled consistently?
□ Facts don't contradict?
□ Planted details pay off?
□ No orphaned setups?

For each character:
- Physical description
- Age
- Key relationships
- Important facts

Map events chronologically.
Check for impossibilities.

Rules of the world.
Locations and descriptions.
Consistent terminology.

1. Read the entire work straight through
2. Don't stop to fix—mark and continue
3. Experience it as a reader would
4. Note where you lost engagement
5. Make final adjustments

□ Does the opening still hook?
□ Where did I lose interest?
□ Does the ending satisfy?
□ Are there lingering errors?
□ Would I recommend this to someone?

Print the manuscript.
Read on paper.
Mark with pen.

You see differently on paper than screen.

Read the entire work aloud.
You'll catch:
- Awkward phrasing
- Rhythm problems
- Dialogue issues
- Boring passages

After a draft, take time away.
Days. Weeks if possible.
Return with fresh eyes.

Fresh perspectives reveal blind spots.
Choose readers who:
- Represent your audience
- Will be honest
- Can articulate why something doesn't work

The phrase you love most?
The clever scene you're proud of?
The beautiful description?

If it doesn't serve the story,
cut it.

Save it in a "darlings" file.
You can use it elsewhere.
But not here if it doesn't belong.

RULE: If something is only there because
you like it (not because the story needs it),
it probably should go.

□ Pass 1: Structure solid
□ Pass 2: Characters consistent
□ Pass 3: Every scene earns place
□ Pass 4: Dialogue crackles
□ Pass 5: Prose polished
□ Pass 6: Continuity clean
□ Pass 7: Final polish complete

"What changes?" (Scenes)
"Would they really?" (Characters)
"Do I need this word?" (Prose)
"Is there subtext?" (Dialogue)
"Can I start later?" (Openings)
"Can I end earlier?" (Endings)
"Would I miss it if cut?" (Everything)