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The Revision Workshop

You have a draft. Now learn to read it clearly, identify what is not working, and fix it — without losing what is.

Duration: 6 weeksFormat: Live online — 2 sessions per weekLevel: Intermediate to Advanced

Next cohort: September 22, 2026

The Revision Workshop

Overview

What this program is

Finishing a first draft is an achievement. Knowing what to do with it is a different skill entirely — one that most writers are never taught. The result is drafts that sit in drawers, revision processes that go in circles, and writers who rewrite the same chapter endlessly without making it better.

This program teaches revision as a discipline. Over six weeks, you will learn how to read your own work with critical distance, diagnose structural and prose-level problems, and make targeted changes that improve the whole without destroying what is already working.

The program is suitable for fiction, memoir, and narrative nonfiction. You will work on your own manuscript throughout — every framework, every exercise, every session of feedback is applied to your actual pages.

Outcomes

What you will leave with

  • A diagnostic framework for reading your own draft as a stranger would
  • Structural revision techniques for fixing plot, pacing, and character arc problems
  • Line-level editing skills: cutting, clarifying, and strengthening prose
  • A complete, prioritised revision plan for your manuscript
  • Feedback on 30 pages of your manuscript from peers and instructor
  • A repeatable revision process you can apply to every project you write

Who this is for

Who this is for

  • Writers with a complete or near-complete first draft of a novel, memoir, or narrative nonfiction book
  • Writers who have revised before but feel like they are going in circles
  • Writers who know something is wrong with their draft but cannot identify what
  • Writers preparing a manuscript for submission to agents or publishers

Schedule

Week by week

Week 1

Distance — Learning to read your own work

The hardest part of revision is reading what is actually on the page rather than what you intended. This week you will learn the techniques that create critical distance — how to read your draft as a stranger would, what to look for, and how to take notes without immediately trying to fix everything.

Session 1The diagnostic read: how to read your draft without editing it
Session 2What to look for: the ten questions every revision must answer
AssignmentComplete a full diagnostic read of your manuscript. Do not edit. Take notes only. Bring your notes to Session 2.
Week 2

Structure — Fixing the bones

Structural problems are the hardest to see and the most important to fix. This week you will learn how to identify structural issues — scenes in the wrong order, a midpoint that does not turn, an ending that does not earn its emotion — and how to address them without rewriting everything.

Session 3Structural diagnosis: mapping your draft against what it needs to be
Session 4Structural revision: moving, cutting, and adding at the macro level
AssignmentCreate a scene-by-scene map of your manuscript. Identify the three most significant structural problems. Bring your map and diagnosis to Session 4.
Week 3

Character — Arc, desire, and consistency

Character problems often masquerade as plot problems. This week you will learn how to audit your characters' arcs — whether their desires are clear, whether their choices are consistent, whether their change is earned — and how to revise when they are not.

Session 5Character arc audit: desire, wound, and the logic of change
Session 6Revising character: consistency, motivation, and the scenes that do the work
AssignmentWrite a character arc summary for your protagonist and two secondary characters. Identify where the arc breaks down and what needs to change.
Week 4

Scene — Making each one earn its place

Every scene in a finished manuscript needs to justify its existence. This week you will learn how to evaluate individual scenes — whether they are doing enough work, whether they are in the right place, whether they can be cut — and how to revise scenes that are almost working but not quite.

Session 7Scene audit: what each scene must do and how to know if it is doing it
Session 8Scene revision: the scene that is almost working
AssignmentIdentify the five weakest scenes in your manuscript. For each, write a one-paragraph diagnosis and a revision plan.
Week 5

Prose — Line-level revision

Once the structure is sound, you can work at the line level. This week covers the techniques of prose revision: cutting redundancy, clarifying syntax, strengthening verbs, managing rhythm, and finding the specific word. You will work on 10 pages of your manuscript in the session.

Session 9Line-level editing: cutting, clarifying, and the specific word
Session 10Prose workshop: live revision of submitted pages
AssignmentSubmit 10 pages for the prose workshop. Complete a line-level revision of a different 10 pages independently.
Week 6

Plan — Your complete revision roadmap

The final week is about synthesis. You will assemble everything from the previous five weeks into a complete, prioritised revision plan — a document that tells you exactly what to do, in what order, and why. You will also receive final feedback on your work and discuss the path forward.

Session 11Building the revision plan: prioritising, sequencing, and committing
Session 12Final feedback and the path forward — what comes after revision
AssignmentFinal deliverable: complete revision plan for your manuscript, with prioritised changes at structural, character, scene, and prose levels.

Instructor

Eleanor Marsh

Founder, The Prose Haus

Eleanor has edited and revised her own work through two published novels and helped dozens of writers through the revision process as a coach and workshop leader. She created The Revision Workshop because revision is where most writing careers stall — and it does not have to.

FAQ

Common questions

Ready to do the work?

Next cohort starts September 22, 2026. Spaces are limited.

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