{"id":618,"date":"2020-11-27T07:23:37","date_gmt":"2020-11-27T07:23:37","guid":{"rendered":"https:\/\/jerichowriters.com\/?p=618"},"modified":"2025-05-09T10:19:56","modified_gmt":"2025-05-09T09:19:56","slug":"the-rewriters-journey-by-john-david-mann","status":"publish","type":"post","link":"https:\/\/jerichowriters.com\/the-rewriters-journey-by-john-david-mann\/","title":{"rendered":"The Rewriter’s Journey"},"content":{"rendered":"\n

When I handed my wife my five-hundred-page, hundred-fifty-thousand-word completed draft of my first novel, she did three things. She read it. She told me she loved it. And then she gave me the best advice I\u2019ve had in a decade: \u201cSend it to Jericho.\u201d<\/p>\n\n\n\n

Context<\/h2>\n\n\n\n

This wasn\u2019t my maiden voyage. I first learned about the value of rewriting your story\u2014the agony and ecstasy of rewriting, its trials and rewards\u2014more than a decade earlier. Back in 2005 I coauthored a little \u201cbusiness parable\u201d with a friend and managed to secure us a terrific literary agent, who in 2006 sent it round to a handful of publishers in New York and got the following responses:<\/p>\n\n\n\n

Editor 1 at Publisher A said no.<\/p>\n\n\n\n

Editor 2 at Publisher B said no.<\/p>\n\n\n\n

Editor 3 at Publisher C said no.<\/p>\n\n\n\n

Editor 4 at Publisher D said no.<\/p>\n\n\n\n

Editor 5 at Publisher E said no.<\/p>\n\n\n\n

Editor 6 at Publisher F said no.<\/p>\n\n\n\n

Editor 7 at Publisher G said no.<\/p>\n\n\n\n

Editor 8 at Publisher H said, \u201cThis one was pretty interesting. The writing is good, but the payoff was a bit lacking.\u201d In other words\u2026no.<\/p>\n\n\n\n

\"Rewriting<\/figure>\n\n\n\n

So we took the manuscript back, spent months reworking it<\/a>, and then in 2007 sent it round to publishers yet again. This time, some of those same editors from 2006 responded, as did a few different editors at some of those publishers, as well as some altogether new editors from entirely different publishers. Here\u2019s what they all said:<\/p>\n\n\n\n

Editor 9 at Publisher A (Editor 1\u2019s publisher) said no.<\/p>\n\n\n\n

Editor 10 at Publisher B (Editor 2\u2019s publisher) said no.<\/p>\n\n\n\n

Editor 11 at Publisher I said no.<\/p>\n\n\n\n

Editor 12 at Publisher J said no.<\/p>\n\n\n\n

Editor 13 at Publisher K said no.<\/p>\n\n\n\n

Editor 14 at Publisher L said no.<\/p>\n\n\n\n

Editor 15 at Publisher M said, \u201cStarts out with a bang but loses steam in the middle.\u201d That\u2019s a no.<\/p>\n\n\n\n

Editor 16 at Publisher N said, \u201cLiked it, but not quite right for our imprint and the direction we are going in this year.\u201d Nyet.<\/p>\n\n\n\n

Editor 17 at Publisher O passed to Editor 18. Who said, \u201cLike it, but couldn\u2019t get other team members enthusiastic about it.\u201d Nein danke.<\/p>\n\n\n\n

Editor 4 (back at Publisher D) who\u2019d said no on the first try, said, \u201cIt\u2019s very well done, but I don\u2019t think it\u2019s the kind of book that will work well on our business list.\u201d En-Oh.<\/p>\n\n\n\n

Editor 5 (back at Publisher E) read the new version and said, \u201cNeeds a unique hook or punchline to get people to respond. Writing is great but payoff not strong enough.\u201d Fuggedaboudit.<\/p>\n\n\n\n

Editor 6 (still at Publisher F) said, \u201cSaw this twice now. Liked it, but didn\u2019t love it. While I like the message a lot, the story itself seemed a little more didactic and forced than we would like.\u201d Amscray.<\/p>\n\n\n\n

Editor 7 (back at Publisher G) said, \u201cLiked it. Wanted to love it, but I\u2019m afraid I just didn\u2019t connect with it. I\u2019ve been incredibly wrong before and probably am on this one, but I\u2019m going to have to pass, with regret.\u201d Don\u2019t let the door hitcha where the good Lord splitcha.<\/p>\n\n\n\n

Editor 19 at Publisher H, the same house where Editor 8 had said \u201cThis one was pretty interesting but the payoff was lacking\u201d the previous year, said\u2014<\/p>\n\n\n\n

Wait, what?<\/em><\/p>\n\n\n\n

He said \u201cyes.\u201d<\/p>\n\n\n\n

The Moral Of The Story<\/h2>\n\n\n\n

We published THE GO-GIVER in early 2008. It hit some lists, won some awards, and to date has sold nearly a million copies in more than two dozen languages.<\/p>\n\n\n\n

But the moral of the story isn\u2019t what you might think.<\/p>\n\n\n\n

You\u2019ve heard the stories about persistence\u2014 J K Rowling turned down by a dozen publishers. Jack Canfield and Mark Victor Hansen and their goofy idea for a book called Chicken Soup for the Soul<\/em> turned down by 144 publishers. Harlan Sanders and his recipe for fried chicken rejected more than a thousand times. And so on. The moral is, persist! Believe in yourself! Don\u2019t listen to the naysayers\u2014keep knocking on those doors! Right?<\/p>\n\n\n\n

Yeah\u2026but.<\/p>\n\n\n\n

Those first eight editors were right<\/em> to reject our book. To this day I thank my lucky stars they all said \u201cno.\u201d Because if even one<\/em> of them had said \u201cyes\u201d and we\u2019d published the book back in 2006, it would not have sold a million copies. Maybe a thousand. Or not.<\/p>\n\n\n\n

Because it wasn\u2019t ready.<\/em><\/p>\n\n\n\n

Those eight editors knew something we didn\u2019t know.<\/p>\n\n\n\n

And that, that<\/em>, is to me the moral of the story.<\/p>\n\n\n\n

Yes, believe in yourself, believe in your idea, trust that your story is the most fantastic and amazing and compelling story that has come around in years, that the world needs and wants<\/em> your story. Have unshakable faith in yourself.<\/p>\n\n\n\n

But keep one ear open. Maybe both ears. Because there are people who know things you don\u2019t know. And if you want your idea to become all it can be, all it should be, all it was born to be, then you need to hear those things you don\u2019t yet know. Hear them, and act on them.<\/p>\n\n\n\n

During those months of reworking that original manuscript, our agent first covered every page with red ink, and I then spent dozens of hours rephrasing, simplifying, compressing, and deleting. Changed one character\u2019s gender. Cut a few other characters altogether. Remember that comment about how \u201cthe payoff was a bit lacking\u201d? Right: we tossed out the entire last chapter and wrote a brand new one. <\/p>\n\n\n\n

And it became the book it was meant to be.<\/p>\n\n\n\n

Which was why Number Nineteen (aka Adrian Zackheim at Portfolio, an imprint at Penguin, now Penguin Random House) said \u201cyes\u201d and launched my career.<\/p>\n\n\n\n

Fast forward a decade. By 2018 I\u2019d written a bunch more books, some fairly successful, some not so much, but all of them sharing this in common: they were all shelved on the nonfiction side of the bookstore.<\/p>\n\n\n\n

In June of \u201918 I set out to do something that terrified me: write a novel.<\/p>\n\n\n\n

Harry Bingham is one of my crime-fiction heroes. I\u2019ve loved every word of the Fiona books. I wanted to do something like that<\/em>. I\u2019ve also come to love Harry\u2019s teaching and coaching. Before starting work on my novel I read his How to Write<\/em> cover to cover, joined Jericho Writers and watched his video course.<\/p>\n\n\n\n

Then I started.<\/p>\n\n\n\n

\"rewriting<\/figure>\n\n\n\n

Steel Fear<\/h2>\n\n\n\n

The story is a thriller called STEEL FEAR, and I cocreated it with a friend, a former Navy SEAL sniper with whom I\u2019ve written before (all nonfiction, till now). He had the basic story idea, supplied technical and background detail, and was a rich source of color and flavor for the world I was building. The actual writing<\/em>\u2014creating characters, designing the plot, working out the twists and turns, putting flesh and blood and bones on the whole thing, and tapping out one damn word after another\u2014was my job. Here\u2019s the elevator pitch:<\/p>\n\n\n\n

A disgraced Navy SEAL stalks a serial killer aboard an aircraft carrier in the midst of the Pacific Ocean.<\/em><\/p>\n\n\n\n

It took me about fifteen months, from first research notes and scribbles to first draft.<\/p>\n\n\n\n

At which point my wife said: \u201cSend it to Jericho.\u201d<\/p>\n\n\n\n

Understand, this is something I\u2019ve never ever done before: hired a third-party consultant to critique my first draft. I\u2019ve gotten critique-and-review assistance from my agent, from my publishers\u2019 editors, and from the handful of friends who form my early readers\u2019 circle. This was different: a novel<\/em>. My first. And a thriller, yet.<\/p>\n\n\n\n

I knew my wife was right. I needed professional help.<\/p>\n\n\n\n

So in mid-September 2019, I submitted the manuscript to Jericho for a full manuscript assessment.<\/a><\/p>\n\n\n\n

I don\u2019t think it\u2019s too early to say, that one action has changed the trajectory of my career.<\/p>\n\n\n\n

Jericho paired me up with veteran thriller author Eve Seymour, who turned around a lengthy, comprehensive critique within a shockingly short time. (Weeks, not months.)<\/p>\n\n\n\n

Eve was most generous in her initial comments, the \u201cWhat I think is great\u201d part. And then got down to business. Chapter by chapter, page by page, structure, plot, characterization, pacing and tension\u2026she mapped out the entire thing, end to end, from broad-strokes observations to detailed notes.<\/p>\n\n\n\n

Her critique was fantastic, phenomenal, incisive, spot on. Kind but ruthless. Terrifying. Galvanizing. Motivating. I saw what was lacking, and what was possible.<\/p>\n\n\n\n

Eve helped me see that the story had major flaws. I\u2019d conceived of it as having more or less three protagonists\u2014and you can see the problem right there in the phrase \u201cmore or less.\u201d It was vague. Not a clear three-strand braid, but not a clear one-hero thread either. She prodded me to make a clear choice as to who was the protagonist, and then rework everything to serve that choice.<\/p>\n\n\n\n

I had way too much backstory. Heaping helpings of unnecessary exposition. The pacing was fantastic toward the end but laborious in the first half. And inconsistent: some scenes zipped along, some dragged or halted the momentum altogether. Plot took way too long to get going. Some subplot threads didn\u2019t really work. And so on.<\/p>\n\n\n\n

I had a lot<\/em> of work ahead of me.<\/p>\n\n\n\n

\"The-rewriter's-story-john-david-mann\"<\/figure>\n\n\n\n

I spent October through the end of the year completely reworking it, in the process shrinking from 152k words to 129k.<\/p>\n\n\n\n

On New Year\u2019s Day I sent Draft 2 to my agent.<\/p>\n\n\n\n

Who read it. Told us she loved it. And asked for further cuts and revisions.<\/p>\n\n\n\n

Her observations ran along exactly the same lines as Eve\u2019s. All I had to do was keep going.<\/p>\n\n\n\n

Between January and April I went through two more drafts, in the process taking that new 129k word count to 120k, and finally to 103k. (From the original, that\u2019s about one in every three words chopped. Warning: Many, many<\/em> darlings were murdered in the course of this production.) Deleted a handful of characters, some of whom I\u2019d thought were \u201cindispensable.\u201d Tightened timelines. Shifted critical revelations to earlier. Rewrote all the murder scenes that were originally told from the killer\u2019s POV to now be from the victims\u2019 POV. Eliminated a prologue I\u2019d thought of as brilliant and riveting but which turned out to be neither.<\/p>\n\n\n\n

And so on.<\/p>\n\n\n\n

Until, finally, it had become the book it was meant to be.<\/p>\n\n\n\n

In June we got a handful of offers, took the one from Ballantine Books for a two-book deal. Signed a contract in early August. The first book of the series, STEEL FEAR, will hit the shelves on August 24, 2021. The sequel comes a year later. With, perhaps, more to follow.<\/p>\n\n\n\n

And here\u2019s the cherry on the sundae: we are presently in discussion with three A-list Hollywood producers, all of whom want to bring our story to the screen. The book has, as they say in Tinsel Town, \u201cbuzz.\u201d Once a deal solidifies and we know for sure which horse we\u2019re riding I\u2019ll see if we can append that information to this post.<\/p>\n\n\n\n

Will the book be a hit? No one knows. Will the screen adaptation really happen? No one knows. But this I know, and know for sure: If we hadn\u2019t gone through all that rewriting, none of those editors in New York would have jumped on it. Not one. And the novel would have ended its days sitting on my shelf.<\/p>\n\n\n\n

Writing made the story. Rewriting turned it into the story it was meant to be. <\/p>\n\n\n\n

Essentially, writing is rewriting. No story is perfect the first time it hits the page. So if you want to know how to rewrite your book it’s just this: listen to feedback, keep your end goal in sight, and get rewriting.<\/p>\n\n\n\n

If you think you need copyediting for your manuscript, take a look at our copyediting services. Jericho Writers\u2019 experienced editors specialise in editing both novels and non-fiction and would love to help you with your work.\u00a0Click here for more<\/a>.<\/strong><\/p>\n\n\n\n

\n\n\n","protected":false},"excerpt":{"rendered":"

When I handed my wife my five-hundred-page, hundred-fifty-thousand-word completed draft of my first novel, she did three things. She read it. She told me she loved it. And then she gave me the best advice I\u2019ve had in a decade: \u201cSend it to Jericho.\u201d Context This wasn\u2019t my maiden voyage. 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