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START YOUR NOVEL

• 29 Plot Templates
• 2 Essential Writing Skills
• 100 Examples of Opening Lines
• 7 Weak Openings to Avoid
• 4 Strong Openings to Use
• 3 Assignments to Get Unstuck
• 7 Problems to Resolve

When you finish your draft, do you look for a manuscript critique or a first reader? They are different and serve different purposes.

Manuscript Critique. The reader puts on his/her critical glasses and looks at your manuscript through that lenses. How does this story match up with the ideal novel? Of course, that assumes that you have common concepts about the ideal novel and that your concepts will match up with the editor’s understanding of ideal novels.

For beginning to intermediate writers, or for those particularly difficult stories, a manuscript critique can be helpful. It shows you where the story fails to touch a reader. It points out weaknesses and strengths. For example, you may find out that you failed to write the climax of the story; instead, you skipped over that chapter and wrote the aftermath of the climax. That’s a common problem and a critique can remind you why you need to actually write it.

A disadvantage of the critique is that it is by nature a process of tearing apart your novel and matching up the parts to the ideal novel. It is destructive in many ways. The intent is to help you reconstruct, but it can be devastating. Editors, by and large, are manuscript critiquers and a ten-page revision letter is normal.

First Reader. On the other hand, a first reader has one task: to monitor his/her impressions as s/he reads and report those impressions to you. Some suggest a structured approach and ask readers to write in the margins something like this. B=bored. C=confused. E=emotional.

You can make up some sort of code like that, or you can just let the reader report as they wish.

The advantage of this is that it gives you feedback on what you actually put on the page. I often think that I’ve communicated anger, but the reader is merely confused. Especially after a revision, I need a first reader–and a naive one who hasn’t read the story before–to find out if I inadvertently added or subtracted something in the process of revising.

I am ALWAYS surprised by what a first reader will say. They are confused, bored, angry, or emotional in ways that surprise me–both good and bad. In other words, I need to fine-tune the story to the needs of a reader.

The disadvantage of a first reader is that you don’t always know the structural and technical problems that a manuscript critique might point out. A first reader might report that s/he was bored with the ending and then you’ll have to figure out why. The manuscript critique will tell you that you left out the climax. You get to the same revision, but by different routes.

Which do you prefer? A manuscript critique or a first reader?

I’m working on a novel and have just gotten a couple rounds of feedback from friends. Here’s what I noticed.

They didn’t give me the answer I wanted!

Be Open. I wanted them to say that this version was perfect, ready to send out. What they said was:
Are you sure this should be chapter 2 and not chapter 3?
Are you sure that you want to start the chapter this way?
Are you sure that you want to end the chapter this way?
If you do X, then later it will mean Y or Z. Are you sure you want that?

Notice: They are not telling me that I must change anything! They are merely giving me a professional opinion about what might need a second look.

Sigh. Good friends, aren’t they? They don’t let me get by with mediocre.

They Let Me Ask Questions

Accept Ultimate Responsibility. I have no idea where it started, this idea that authors should sit quietly and “take criticism.” It’s ridiculous. At least, to me.

No, I’m not arguing and saying that YOU are wrong. Of course, you’re just giving me “your opinion.” Of course, I need to know what you, as the reader, were feeling and experiencing as you read.

That’s great. But what I ALSO need is to understand exactly what you mean when you say, “I didn’t like that part.”

I need to ask questions to clarify the feedback, or the feedback is pointless to me. Did you not like it because you–personally–hate dogs and would never voluntarily read about them? Or did you not like it because the pacing was off? Or was it a single word choice that would make a difference?

Did you pick up on something in the last chapter that leaves you expecting something here? If so, can I change that bit in the last chapter and make this work here? Or, do you really think I must change this bit here?

There are so many, many variables in writing fiction: everything builds on what was done before and the choice of WHERE to revise is open; everything builds on the interconnections between ideas and language and the choice of WHERE to revise is open.

How can I make a wise choice, if I don’t understand exactly–with a great deal of precision–where the problem lies?

Fortunately, my friends let me “argue.” I need that.

The Ultimate Choices are Mine: I Appreciate the Help

Be Thankful. In the end, though, my friends also leave the choices with me, as it should be. This is my story and it’s my vision for the story that matters. They suggest, prod, try to veto, nudge and encourage. That’s all they can do. In the end, it’s me and the words on the page. But thanks friends, for those nudges. I need those to keep going!

NonFiction BookBlast Sunday, June 26, 2011. 8-10 am. ALA Conference in NOLA.