Tag: How to edit a book

Finding a Great Critique Partner

Finding a great critique partner

For years, and I do mean years, I’d read about the merits of working with critique partners and heard fellow writers recommend them. What is a critique partner? It’s a writer or group of writers who exchange sections of the story or article they are working on. I read my partner’s project and give her feedback, and she does the same for me. But the very nature of a critique partnership always stopped me from searching for one. But as I worked on my third novel, I stumbled across unexpected partners and realized that finding a great critique partner is possible.

What’s Wrong with a Critique Partner?

I had never pursued finding a critique partner for two reasons. First, with kids at home, I had to claw and fight for every minute I could devote to writing. I didn’t see how I could battle for even more time to provide feedback to another writer. Second, I’m only comfortable critiquing mysteries. I don’t know enough about other genres to provide a meaningful critique. In my writer’s group, for a long time, I was the only writer who penned traditional mysteries.

But I did see the advantages. Unlike taking a class or reading a writing craft book, a critique partner would give feedback that was specific to my story. I’ve always found that kind of tailored feedback most helpful.

So I decided working with a critique partner had to be something I’d set aside until my kids were out of school. And then I was unexpectantly blessed with the best critique partners for me.

Not One Partner But Two

I began working on my third Rae Riley mystery novel in the spring of 2024. As usual, I had grave doubts about the story. Did the first chapter grab readers’ attentions? Did the plot make sense? Did it make readers care?

I was so worried that I asked my youngest sister to read the first eleven chapters, and she suggested also having her seventeen-year-old daughter read it. Rae Riley Mysteries are written for teens, although I know a lot of adults enjoy the series too. They provided me with such helpful feedback that I had them review other sections of my novel as I completed them. My novel wouldn’t be in such great shape without them.

What Qualities Make a Great Critique Partner?

  • Depth of genre knowledge. Both my sister and niece love mysteries. We talk the same language. So if a clue wasn’t working, they could tell me. Also, since they know the mystery is the primary plot, they could tell me if I was getting off track with things like family drama or minor characters.
  • Thoughtful feedback. Many readers can tell you what they don’t like about a book, but they don’t always know why. My sister and niece could not only point out problems but explain why a certain plot point or character wasn’t working for them.
  • Kindly critique. Because my sister is my best friend, she knew how to highlight problems in a way that wouldn’t discourage me.

And another reason my sister and niece worked so well was because they weren’t writers. I didn’t have to search for time to critique their work in return.

Finding a great critique partner takes work and time. Above all else, you have to find someone whose opinion you trust. If the trust is there, then fruitful work will follow.

For more editing tips, click here.

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Editing Like a Reader

Editing like a Reader

Last October, I had a post about writing a mystery like a reader. Now that I’m into the editing phase of my third novel, I realize that editing like a reader is an excellent tool to add my prose-polishing kit. What do I mean by editing like a reader? Keep reading!

The Key Question

When it comes to editing, there are usually two main problems: a section is over-written and needs cut down, or it’s under-written and needs fleshed out. One way to fix either of these problems is for the writer to ask this question during the editing process: what does the reader need to know right now in this scene?

Let’s say you’re writing historical fiction. Being a conscientious writer, you’ve done hours and hours of research. As you write your story, you put it in all the fun facts you’ve learned. But now that you’re editing, you have to ask if your readers need all these fun facts to enjoy the story. Do you they need to know every step of how settlers in the Ohio territory made candles in 1800? Do they need the history of the log cabin because your main character lives in one?

Historical fiction readers do want historical details–that’s one of the reasons they read the genre. But a writer has to understand when and how many details to include.

Another genre that enjoys rich details is speculative fiction. Readers expect in-depth worldbuilding. If you are editing an action scene in your fantasy novel and realize your characters are using magic or tools that haven’t been explained before now, you should to add those details to your story. Without some explanation of those objects or techniques, the action scene won’t be exciting.

Writing a Series

Writing a series forces me to edit like a reader all the time. A major supporting character in my second novel has a cameo role in my third. I don’t need to give that character’s whole backstory in the third novel. It will take away from the narrative. But I may have to reference events from the previous novel. Then I have to ask myself what do readers need to know about that past event so they can enjoy the current novel.

Writers, what do you think of editing like a reader? What editing tips do you recommend?

For more advice on editing, click here.

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Ferreting Out Weasel Words

Ferreting out weasel words

Ferreting out weasel words is a key editing technique. What are weasel words? The authors of Go Teen Writers: Edit Your Novel describe them as the unnecessary words that creep into your manuscript. They’re also called weed words. Every writer has pet ones that scurry through their stories until it’s time to edit.

Don’t worry about weasel words in the first draft. My first drafts are littered with “just” and “almost”. If I stopped to analyze whether each one is needed, I switch from the artist mindset to the editor one and break my creative flow. When I settle down to a thorough edit, that’s when I tackle the weasel words.

In my first novel, A Shadow on the Snow, I had characters thanking each other so much that a little ingratitude would have been welcome while I was editing. I only needed my characters to extended a few “thank you’s” to get across that they were polite, nice people.

While working on my third novel, I had a scene where three characters kept asking each other if they were “all right”. Good grief, I hadn’t remembered that “good” and “okay” work too, and those are the boring alternatives.

I also think you can have weasel settings. These are settings that a writer uses too much. A Shadow on the Snow had too many scenes set in places where characters were eating or in cars while characters were driving. I had to broaden my scope of settings.

If you’re a writer, what weasel words do you have to ferret out? Do you have settings that are your go-to? What are they?

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