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| Expert writers often share advice |
I’ve released a new book on the craft of writing, called You
Can Write for Children: How to
Write Great Stories, Articles, and Books for Kids and Teenagers. To
celebrate the release, I’m sharing a excerpt from the chapter on Critiques. So far I've shared the
intro to the chapter and advice on getting feedback
from family and friends; discussed some basics about critique
groups; shared challenges
to watch out for in a critique group, and listed specific character
types to watch out for in your critique group, and taking classes to
improve your writing. Now let's look at one final option, hiring a professional
editor or critiquer.
Hiring a Pro
It’s tempting to stick with trading manuscripts for free,
and you may get some excellent feedback that way. However, getting feedback
from family, friends, and even other writers might not be enough to perfect
your work. Many critique partners won’t want to read your manuscript through multiple
revisions. And unless they are experienced writers and writing teachers, critique
partners may miss issues a professional editor would catch.
Hiring a pro may provide better advice. You might ask a
friend to help you bandage a scraped knee, but if you have a bone sticking out
of your leg, you’re going to the hospital. When the situation is serious,
professional experience counts, so if you are serious about your writing,
consider using a professional editor.
Professional developmental editors can help writers shape
their manuscripts. They can help beginning or intermediate writers identify
weak spots in their skill sets, acting as a one-on-one tutor. They provide
expertise that family and friends, and even critique partners, often lack. A
professional editor will prioritize your work because it’s a job.
Some of my critique clients have mentioned that they’ve
taken a manuscript through a critique group, but they know it still needs work.
They’ve gone as far as they can with critique group help, so they’re turning to
a paid critique. If someone is paying me several hundred dollars to critique a
novel, I’m going to devote my time to getting it done well and quickly. I’ll
dig deep and be as tough – but helpful – as I can be. My novel critique letters
typically run five or six single-spaced pages, with comments broken down into
categories such as Characters, Setting, Plot (Beginning, Middle, and End),
Theme, and Style. Most critique group members don’t have that kind of time,
even if they have the skills to identify the problems.
If you aren’t sure if you need professional help, do a trial
run with a manuscript you’ve finished. Send out a half dozen queries to agents
or editors and see what kind of response you get. I’ve had clients come to me because
editors have turned down a manuscript they “didn’t love enough.” This is a good
indicator that the idea may be strong, but the writing isn’t there yet. No hired
editor can guarantee that your manuscript will ever sell, but a good editor can
improve the manuscript and also teach you to be a better writer.
If you are writing purely for your own enjoyment, or to
share your work with family and friends, you don’t need to worry about
producing something of publishable quality. But if you are writing for
publication, and agents or editors don’t seem impressed with your work, a
professional critique can teach you a lot.
Preparing for the
Edit
Even if you decide to hire a freelance editor, you’ll get more
from the experience by turning in a draft you’ve already edited. According to
freelance editor Linda Lane, “Carefully preparing your manuscript for an
editor rather than simply forwarding the latest draft saves dollars, because
freelance editors often charge an hourly rate.” (Use the tips in Chapter 14: Editing
in You Can Write for Children to revise your manuscript as much as
you can on your own.) If you have critique partners, revise based on their
feedback as well.
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| I'm an expert! |
Then start looking for a professional editor. However, if
you want a professional critique on the content of your book – the plot,
characters, overall writing style, and so forth – don’t wait until you think
you have a completely polished draft. If it turns out you have major problems
with the plot or character development, it’s better to identify those before
you’ve gone through 10 drafts and have proofread the whole thing.
Ask other writers for recommendations to editors. Try the
SCBWI online discussion boards or local writers’ groups. Make sure the editor
has experience with the kind of writing you are doing. Someone who only writes
for adults is probably not the best editor for your children’s picture book.
Communicate clearly with a prospective editor to make sure
you know what you’re getting. Typically content or developmental editors look
at the big picture items. Copy editors and proofreaders can catch
inconsistencies and spelling or grammar errors. Start by working with someone
who will focus on content, structure, and stylistic weaknesses. Don’t pay
someone to fix your typos when you might still have major changes to make. Ask
questions or ask for a sample to make sure you are hiring the right editor for
your needs.
Professional Editors
Learn about my critique services here.
You can get this whole essay, and a lot more – including a
chapter on Advanced Critique Questions – in
You Can Write for Children: A Guide
to Writing Great Stories, Articles, and Books for Kids and Teenagers.
Remember the magic of bedtime stories? When you write for
children, you have the most appreciative audience in the world. But to reach
that audience, you need to write fresh, dynamic stories, whether you’re writing
rhymed picture books, middle grade mysteries, edgy teen novels, nonfiction, or
something else.
Order for Kindle,
in paperback,
or in Large
Print paperback.
