Writing is Rewriting: The Art of the Second Draft

The magic of writing often lies in the messy, transformative process of revision.

Apr 01, 2025

There’s a common misconception that great writing flows effortlessly from the mind onto the page, fully formed. But the truth? First drafts are messy, chaotic, and often riddled with imperfections.

Drafting is not where the magic happens. The second draft, or even the third and the fourth if you are a Zero drafter like mem, is where the story truly begins to shine.

Writing is rewriting. Learning that was the thing that really changed who I was as a writer to who I am today

Before, I though revising was just about cleaning up typos and smoothing awkward sentences. Now I know that it’s about discovery, moulding, shaping. The first draft is you telling yourself the story, while the second draft is where you figure out how to tell it to others.

I like to think of my first draft as a lump of clay. Don’t get me wrong, it took time to dig up and get that clay to the wheel, but even so, you don’t have a vase yet. You now have to do the work of moulding and refining it on the wheel.

You would never look at a lump of clay and tell a potter that her vase is terrible. So don’t do the same with your first draft.

With that in mind I am going to do a bit of an intro into revising below.

The Revision Pyramid

I edit in a pyramid, tackling the largest revisions first and then working up to the nitty gritty detail. Each revision is at least one draft, sometimes two, and I try to not go beyond ten drafts (for my own sanity).

Here is the structure:

Draft one - Story Dump
Draft two - Character Development
Draft three - Plot & Structure
Draft four - World building & Setting
Draft five - Description
Draft six - Dialogue
Draft seven - Theme
Draft eight - Line Editing
Draft nine - Copy Editing
Draft ten - Proof Reading

Character Development Revision

One of the most important aspects of rewriting is deepening your characters. On my first pass, I often realize I’ve focused too much on the plot and not enough on how my characters feel or why they’re making certain decisions. The second draft is my chance to sit with them, explore their motivations, and make them feel like real, flawed, messy people.

In my second draft I always focus on the character. Only once I feel like I have nailed them down, their quirks and personalities but also how they interact with each other, do I look at anything else.

Plot & Structure

Another essential part of rewriting is looking at the story’s structure. Does the pacing work? Are the stakes clear? Does each scene contribute to the overall narrative? In my first drafts, I tend to pick up threads and drop them at random. Revising is my opportunity to streamline and ensure every scene earns its place.

I tend to do this in subsequent drafts, once I have focused During a recent revision, I realized my midpoint twist wasn’t as impactful as I’d hoped. I went back, reworked the build-up, and added foreshadowing in earlier chapters. It took time, but the result was a twist that landed with far more emotional weight.

World building & Setting

Once I have my characters and plot solidified, I turn my attention to the world they inhabit. Whether I’m writing historical fiction, fantasy, or contemporary, setting plays a crucial role in grounding the reader. In early drafts, I often find my descriptions are either too sparse, leaving the world feeling vague or too dense, slowing down the pacing. This revision is my chance to strike the right balance.

I focus on making my settings feel immersive, ensuring they engage all five senses. Instead of just describing what a place looks like, I think about how it smells, how it sounds, how it feels underfoot. I also check for consistency; are the logistics of my world sound? If my characters travel, do their routes make sense? Is the weather appropriate for the time period or location? Every detail should serve the story rather than overwhelm it.

Description

Once my world is built, I hone in on the smaller details of description. This is where I make sure my writing is evocative without being overwrought. Early drafts tend to swing too far one way or the other, I either describe too little and leave things feeling flat, or I over-explain and bog the pacing down.

Here, I look for ways to make my descriptions work harder. Instead of saying “She was angry,” I find ways to show it—tightening her grip on her coat, biting back a sharp retort. I also cut any redundant descriptions (do I really need to say the sky is “blue” if I’ve already described a bright summer day?). The goal is to create vivid imagery without excess clutter.

Dialogue

Dialogue is one of my favorite parts of writing, but in early drafts, it can be rough or just too much of it. This pass is where I refine conversations to make them sharper, more natural, and more revealing of character. I read dialogue out loud to catch awkward phrasing and ensure each character has a distinct voice.

I also check that dialogue serves a purpose. Every line should either reveal something about the character, advance the plot, or build tension. If a conversation is just small talk or rehashing what the reader already knows, I cut it.

A good rule of thumb: If I can remove a chunk of dialogue without changing anything important, it probably doesn’t need to be there.

Theme

By this stage, my story has taken shape, and I can start thinking about its deeper meaning. What is my book really about? Themes often emerge naturally in early drafts, but this is my chance to refine and reinforce them.

I make sure my themes are woven throughout the story rather than feeling tacked on. If I’m writing about grief, for example, I look at how it influences character choices, the imagery I use, and even the structure of the story. I also check that my themes aren’t too heavy-handed—readers should feel them rather than be told outright.

Line Editing, Copy Editing & Proof Reading

The final stretch is all about polishing.

Line Editing: This is where I refine my prose, tightening sentences, improving flow, and cutting unnecessary words. I aim for clarity and impact, making sure my writing is as strong as it can be.
Copy Editing: Here, I focus on grammar, punctuation, and consistency. Are my character names spelled the same throughout? Have I accidentally changed eye colors halfway through? I also check for overused words and crutch phrases.
Proofreading: The final sweep—catching typos, formatting issues, and any lingering mistakes before I call the draft done. I always change the font or print my manuscript for this step; fresh eyes catch more errors.

By the end of this process, my book has transformed from a messy draft into something I’m proud of. And then, of course, I send it off to beta readers and take a deep breath, and resist the urge to tweak it just one more time.

Techniques for Revising & Editing

Step away before diving in. Give yourself a break between drafts to gain clarity and perspective. When you return, you’ll see the work with fresh eyes.
Read aloud. Hearing your words can reveal clunky phrasing or dialogue that doesn’t sound natural.
Focus on one aspect at a time. Start with big-picture issues (plot, character arcs) before tackling smaller details like sentence structure.
Get feedback. Sometimes, you’re too close to the work to see its flaws. Trust a critique partner between drafts if you need more eyes and perspective.

Rewriting can be daunting, but it’s also deeply rewarding. It’s where you go from an idea to a story worth sharing. Embrace the process—it’s where your best work will emerge.

What’s your favorite part of the rewriting process? What challenges do you face when revising? Let’s chat in the comments ⤵️