I do a lot of partial manuscript critiques for conferences, webinars, etc. and I’d like to give a few pointers to make sure you’re getting your time and money’s worth. There tends to be at least one in any given group of critiques that won’t get anything useful out of the exchange because they just aren’t set up to do so. Here’s how to avoid that.
1. Research the agent before you submit. Conferences and webinars usually list the agent’s bio, and any agent worth working with can be found online and/or in major trade publications, such as The Guide to Literary Agents or The Jeff Herman Guide. This is important. If the only agent(s) available don’t match your genre, don’t submit. It’s ok. There will be other opportunities. I don’t know the genre conventions of sci-fi, for example. I don’t know if it’s cliché to have the protagonist materialize in the morning, hung over from too much Romulan ale, stumble over to the self-imaging plasma and describe what he sees. I could still provide info on tension, character, plot, and other basic elements of narrative, but you’d be better fit with an agent who handles sci-fi. And if it’s something like a children’s picture book, I’m simply clueless. I’d be giving comments like Cute dinosaur and You may want to rethink the title. “Beards Tickle” sounds a bit rapey.
2. “Start from the beginning, and when you come to the end, stop.” – The Mad Hatter. This actually addresses two common issues. Say the critique is for 10 pages. You’re probably best off including your first 10 pages. You’ve heard it a million times: The beginning is the crucial moment in any manuscript (regardless of traditional or self-pub) where you must hook an agent/editor/consumer. If you can’t get them to read this, you can’t get them to read page 50, where it really starts to get interesting. Also, if you choose to include pages from the middle, the agent is essentially flying blind. They don’t know how things have progressed or if that’s his sister or his girlfriend, etc. At that point, the agent is essentially limited to commenting on simple mechanics, rather than any larger issues that may need to be addressed. Now, regarding the second half of Mr. Hatter’s instruction, if the critique calls for 10 pages, don’t include 12 or 14 or 20. The agent will only read what they have been instructed to read in order to be fair to the others who followed directions. In the end, it only makes you look bad if you didn’t.
3. Don’t try to pitch. Yes, this is a great opportunity to get your work read by an agent, but this is above all a learning experience designed to get your manuscript to the point at which it is ready to be pitched. Take advantage of that. Don’t waste your page count talking up your piece like it’s going to be the next bestseller. The proof is in the writing. A common error I see here involves the following type of scenario: The critique is for 10 pages and a synopsis, and the author includes 10 pages and their query in hopes that of enticing the agent into taking on their manuscript. Don’t do this. First, it shows that you can’t follow simple directions. That gets me thinking about what the submissions process would be like if I were to pursue this. I generally ask for a writing sample, author bio, and synopsis when I request fiction. It helps me make an informed decision, and bottom line, you don’t want your agent making uninformed decisions. This also gets me thinking about what the editing process would be like should I decide to sign the manuscript. I edit everything I sign without fail, and if you can’t handle simple instructions, I hold little hope for complex ones. Also, in this hypothetical critique, the agent has been instructed to give feedback on 10 pages and a synopsis. If you include your query with your pages, the agent is obligated to critique your query as if it were a synopsis, and that offers little help in the end. So keep the pitching where it belongs – in the conference pitch sessions.
4. Be professional. This applies to the previous, but here I’m talking about basic conventions of business communication. Remain focused and respectful. If asked for a sample and synopsis, make sure they are easily identified. Don’t keep sending updated files if you happen to edit the piece after you’ve submitted. Submit using the requested file type (usually .doc). Avoid gratuitous caps, punctuation, and font modifiers. Use a normal, businesslike font. Don’t shrink the line spacing, etc. in order to fit more words on the page. Don’t call the agent “Hey, girl” or sign your name “Love you hard.” Basically, treat this like you’d treat a resume. After all, it is the agent’s first impression of you.
5. Be careful. Proofread your submission before you send it. I mentioned that this isn’t a pitch session, but it’s still having an agent read your work. If I see something that shows promise on the story level but is riddled with grammatical errors, I’ll think twice about following up with the writer and asking for more. Whenever you submit any portion of your writing, whether it’s a query letter, a synopsis, or a manuscript, make sure it’s as clean as you can make it. You don’t want what you’re passing off as professional-caliber writing to be marred by things a kid can point out.
6. Keep an open mind. If you send something in for a critique, you want the agent to point out what needs work. You want them to disagree with what you’ve done. Don’t get upset if they don’t respond with fluffy bunnies and double rainbows. Think about it. If you submit for a critique and in return you get a pat on the back, you haven’t gotten your money’s worth. If you want a pat on the back, start a critique group with your mom. She loves you. And everything you send her will be perfect.
TOMORROW: Check out Danielle’s Writer’s Digest webinar: Making Your Children’s Book Shine and Stand Out Above the Rest. Unlike me, she is brilliant with children’s books, and she’s featured in the current issue of Writer’s Digest as an agent looking for new writers.
