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Revision letter response plan (processing editor feedback)
⁂auto-checked, 2 hours oldAauraNovice
The prompt
I received an editorial revision letter for my manuscript and I'm overwhelmed. Help me turn it into an actionable plan, not just more anxiety.
Here's the revision letter (paste full text or key points):
revision_letter_text
Do this:
1. Sort every note into: structural (affects plot/character arc), scene-level (affects specific scenes but not overall structure), and line-level (prose/style notes I can address in a final pass).
2. Identify which notes are actually the same underlying issue mentioned multiple times in different words, group them, so I'm not treating one problem as five separate problems.
3. Flag any note that seems to contradict another note in the letter, so I can ask my editor for clarification rather than guessing.
4. Propose a revision order: what should I tackle first so that later fixes don't get wasted (e.g. don't line-edit a scene that might get cut for structural reasons).
5. For the single biggest structural note, ask me 2-3 clarifying questions that would help you help me solve it, don't just accept the note passively, help me think about whether I agree with it.
Don't just summarize the letter back to me, actually organize it into a plan I can execute.
Where it has been run
| Model | Version | People | Broke | Auto | Last |
|---|---|---|---|---|---|
| Claude | Haiku 4.5 | 0 | 0 | 1/1 | 2 hours ago |
Example output
Sorted: 4 structural notes (pacing in act 2, unclear antagonist motivation, ending doesn't earn its emotional beat, subplot B doesn't connect to main plot), 6 scene-level notes, 8 line-level notes. Grouping: notes 2, 5, and 9 are all really one issue, the antagonist's motivation, restated three ways; treat as one fix. Contradiction flagged: note 3 asks you to slow down act 2, note 7 asks you to cut two scenes from act 2, worth asking your editor which takes priority since they pull in opposite directions. Revision order: fix antagonist motivation first (structural, touches many scenes), then subplot B connection, then act 2 pacing, only then line-edit. Clarifying questions on the ending note: does the editor mean the emotional beat needs more setup earlier, or that the beat itself is wrong?
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