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I finally got around to rebinding my copy of the complete Night Angel trilogy by Brent Weeks.
I picked this book up at random at Barnes and Noble years ago to use up a gift card and it ended up being one of my favorites. My paperback had seen better days. The spine was super curved, and coming apart at the corners. I even found sand in the spine glue when I took it apart cause the last time I read it I was at the beach lol
I used a heat gun to loosen the glue on the spine and let it set with weight on it to straighten it back out. Who needs tools when you have books lol.
The spine came out pretty straight once the glue was set back up. I had to loosen it again to get the paper cover to come off cleanly. I reinforced the spine with some new glue as well.
This was my first time doing guilded edges and 2/3 sides came out pretty good! I learned how to sand the edges and I was able to get them to a mirror shine with just manual hand sanding. Then I used heat transfer silver foil.
Once the guilding was done I finished up the text block with the headbands, a bookmark ribbon, and more glue. This book was massive so I had to use two sheets of chip board to get the covers cut out.
I covered the boards with black leather. I used leather repair material so it already had adhesive, and just had to peel and stick. I designed the cover on canva. I tried to match the general vibes of the original cover and other cover versions it's been printed with. Cut out the heat transfer vinyl with my Cricut and ironed it on!
Casing in the text block is always the most stressful part but all went smoothly and I'm really happy with how it turned out!
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The Art of the Incision: Finding the Story Hidden in the Surplus
Question for you all to jump on if you want: how do you decide what stays and what goes during the Revision Process?
Revision is less about polishing what is already there and more about discovering the true shape of the narrative buried beneath the initial rush of words. For any writer dealing with an expansive canvas, the drafting phase is a beautiful, chaotic accumulation of ideas, world-building, and character tangents. However, entering the editing phase requires a completely different mindset: one that trades the joy of creation for the precision of a surgeon.
Learning how to trim the excess without bleeding out the heart of the story is the ultimate editing hurdle, and it requires a willingness to look at your own hard work with radical objectivity.
To survive this process, I look to Stephen King’s classic, uncompromising philosophy: “Kill your darlings, kill your darlings, even when it breaks your egocentric little scribbler’s heart.” King’s advice is a vital reminder that an author's emotional attachment to a scene, a clever turn of phrase, or a self-indulgent conversation cannot dictate whether it stays in the final manuscript.
When evaluating a massive block of text, the metric for survival is strictly utility. If a paragraph or an entire chapter does not move the plot forward, reveal essential character depth, or heighten the stakes, it becomes a candidate for the cutting room floor, no matter how beautiful the prose might be.
However, cutting your darlings doesn’t mean throwing them into the abyss, which is where Brent Weeks’ brilliant workflow comes into play. Weeks frequently discusses the reality of massive page-count cuts and the practical magic of the "cut file": a separate digital graveyard where deleted scenes, altered subplots, and excised dialogue go to rest.
Knowing that a favorite sequence isn't truly destroyed, but merely set aside for potential future use, removes the psychological grief of deleting hours of labor. This safety net grants the creative freedom to be ruthless in the main master file, keeping the pacing tight and the structural momentum moving exactly where it needs to go.
The actual execution of these cuts is a deliberate, multi-pass screening process rather than a reckless hacking away at the text. The first pass is entirely macro, looking at structural flow to ensure the overarching narrative arc doesn't sag under its own weight. The subsequent passes focus on micro-editing, where repetitive descriptions are condensed, internal monologues are tightened, and redundant dialogue beats are sharpened.
By applying the discipline of King's focus alongside the structural safety net of Weeks' organization, the editing process transforms from an intimidating chore into an empowering exercise in clarity.
Heavy revision is the highest form of respect a writer can show to both their story and their future readers. It is an acknowledgment that the first draft is merely the author telling the story to themselves, while the edited draft is the version meant to be shared with the world.
Standing back and watching a massive project lean down into a sharp, impactful, and engaging narrative makes every single painful cut worth it. The darlings may die, but the story is reborn infinitely stronger because of their sacrifice.
