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.

March 27, 2025 2

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.

March 20, 2025 1

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?

March 17, 2025 1

Book Review of Go Teen Writers: Edit Your Novel

I am reposting this book review of Go Teen Writers: Edit Your Novel to go with this month’s theme of editing. This book is packed with so much good advice that’s it’s worth posting again to give you a second look.

Don’t let the title put you off if you’re an adult. The editing advice in this book is appropriate for any beginning writer. Or even a seasoned writer because it’s always helpful to review or relearn the basics of good writing. The book cover both both macro- and micro-editing. Don’t know what those words mean? Get the book because it will explain that macro- editing is revising the big issues, such as character development and theme. Micro-editing is all the tiny things that need taken care of, like knowing when to insert or remove commas.

One of the most helpful sections under micro-editing is the chapter on punctuation. Author Jill Williamson sets out the rules from how to punctuate dialogue to how to correctly type and use en-dashes and em-dashes. I would have loved to have had this handy guide earlier in my career.

The other half of the book provides all kinds of advice on how to get published with chapters on how traditional publishing works, how to write a synopsis and a query, find a literary agent, and deal with rejection.

The extra chapters at the end are the kind of bonus material I love. There’s self-editing checklist, brainstorming ideas, and the authors’s list of weasel words and phrases, which are words and phrases each author falls into the habit of using over and over again in their first draft. “Just” is a particular weasel word of mine. When I edit, I have to find them and retain only the ones that actually serve a purpose.

But what if you’re still writing your novel? These lovely authors have you covered with Go Teen Writers: Write Your Novel.

For another recommendation of writing book, click here.

What books on editing do you recommend?

March 13, 2025 1

The Artist Vs. the Editor

What do I mean by the artist vs. the editor? Well, this month’s theme is all about how to edit our stories. But within one writer is–or should be–both the creative artist and the analytical editor. Both personalities are critical for creating a story readers will enjoy. But the artist and the editor don’t play well together, so it’s important for writers to recognize when to hang out with the one and when to send the other packing.

First Draft Torture

I find writing the first draft of any story almost torture. Because my pesky internal editor won’t leave my artist alone. I can be in the middle of a conversation between several characters, and my editor is saying, “You’re using ‘said’ too much. Put in some action tags” when my goal at this point is to establish the fact that Mrs. Murphy saw Old Man Willis sneaking around the abandoned Simmons house a few hours before it burned. And all my editor can see is that I’ve used too many “saids”!

But When the First Draft is Finished …

It’s time to roll my sleeves, put on my hard hat, and do some serious reconstruction and polishing. This not the time for my artist to skip in and tell me, “You know, Mrs. Murphy is a fascinating character. You should add more scenes with her.” Or “Do you really want Mayor Haggerty to be the murderer? Old Man Willis might be better.”

The artist can distract me with tantalizing variations on the story I’ve completed. But if I’m working on a deadline, I have to send her off to a field to frolic with unicorns and the Eater Bunny.

In My Experience

I’ve had much greater trouble with my editor during the first draft phase than I do with the artist in the editorial phase. Probably because the artist is so exhausted by the time I get to “The End”, that she appreciates a vacation.

In reality, writers can’t totally separate their artistic side from their analytical side, but I’ve found I have to focus primarily on one or the other. I don’t mind doing a few edits as I write my first draft. Or writing a new scene when my editor sees a need. But if I give both sides of the writing process equal weight at the same time, writing becomes drudgery, and I wear myself out.

So in the battles of the artist vs. the editor, who do you have the most trouble with?

For more posts about editing, click here.

March 6, 2025 0

Tag: How to edit a novel