Part III: Showing vs. Telling
February 1, 2017
Agent Spotlight: Ten Agencies Representing Fiction and Nonfiction
February 21, 2017
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Candor, Tough Love, and The Delicate Art of The Bounce
How our editors handle manuscripts that aren't ready for editing

The first thing I’d put on the table in connection with how we handle manuscripts that need a lot of work could, I hope, go without saying. And that’s that we never want to be discouraging to an author. There’s no pleasure in telling a writer that a manuscript needs rewriting rather than editing or that its flaws run deeper than even an intensive developmental edit can reasonably be expected to fix. But our commitment to telling writers the truth and presenting a realistic assessment of their chances at successful publication is fundamental to our support of the writer’s journey, no matter his or her skill or experience level. And it’s something we take seriously.

What makes this “tough love” easier to give is how much most authors genuinely appreciate being told the truth. While we do come across the occasional writer who doesn’t take criticism well, the vast majority of folks who come to us seem to understand how destructive false encouragement is to the creative process. Because we don’t summarily dismiss work the way an agent or publisher typically has to due to time constraints, but instead provide substantive, specific explanations about what’s not working and what the author may have to learn, the writer gets plenty to work with should he or she desire to fix what’s wrong or at least move things in the right direction.

Some writers are happy to dig in and completely rethink projects around a stronger premise, a more original and engaging plot, or whatever deconstruction and reconstruction is necessary to rescue a promising  but deeply flawed novel.  Others throw in the towel and get to work on a different project, often with a better understanding of some fundamentals of fiction technique, thanks to the editor’s explanation of why the initial effort wasn’t working.  Others give up on writing altogether, or at least novel writing, once they see how much work is involved in learning how to write a good novel that can have a shot at successful publication.

In our view it’s never an editor’s job to tell a writer to give up on anything or to stop writing. That’s a personal choice than can only be made by the author. But it is our job to give candid, knowledgeable, diagnostic feedback so that a sound decision can be made based on a thoughtful and credible assessment of where the work currently stands.

The challenge for us is to be accurate in our generalizations about what a prospective client can expect from our feedback.  We are committed to the effort to be constructive and solution-focused in our critiques, but some manuscripts—especially early drafts of novels from writers who haven’t read much in their genre or spent much time learning about how to write a novel—have flaws that can hamstring an editor’s ability to be constructive in any kind of meaningful way. In these (thankfully quite rare) cases, the focus of the written report turns more to the exploration of why a story doesn’t work and in some cases to the points of craft that are being overlooked. The suggestions are likely to be more general than specific at this stage, that is until we’ve had a chance to present feedback to the author and discuss it. Once we know what the author is willing to change and what the intent of the original approach was, we can often come up with ideas to get things on a better track.

The feedback we provide will take on a different flavor depending on the nature of the work it addresses, so an evaluation of a fundamentally strong manuscript with a good story, engaging characters, and a terrific narrative voice is going to look different from an evaluation of something that has none of these attributes. What we promise is to be thorough, honest, fair in our analysis, and provide valuable feedback regardless of the state of the manuscript or the level of experience of the author.

Some of the questions we ask ourselves as we read to assess the appeal of a book’s premise and the strength of a story, characters, writing, pace, etc., are largely consistent from manuscript to manuscript. Others are more specific to the story itself, the genre, the age group, or the author’s publishing goals.

And we have much more to say about this in part III which addresses the broad scope of topics a manuscript evaluation can address and the take-away value of such a memo for authors.

Looking for candid, constructive feedback on a novel, short story, or narrative nonfiction manuscript you’re working on from editors who will tell you the truth? Read more about our  manuscript critique services here.
Ross Browne

Ross Browne

Owner and Director of Author Services at The Editorial Department
Ross has been editing books since 1992 and developing workshops and seminars for writers since 1997. He has worked closely with hundreds of authors during his time with The Editorial Department and seen many projects through from first draft to publication. He enjoys most genres of commercial fiction and specializes in teaching fiction technique, with a particular emphasis on dialogue.
Ross Browne
Ross Browne
Ross Browne
Ross has been editing books since 1992 and developing workshops and seminars for writers since 1997. He has worked closely with hundreds of authors during his time with The Editorial Department and seen many projects through from first draft to publication. He enjoys most genres of commercial fiction and specializes in teaching fiction technique, with a particular emphasis on dialogue.

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