How to deal with critiques and editorial feedback

Whether you’re a first-time writer, indie or traditional, it’s always a nervous moment when editorial feedback arrives from an agent or editor. Here’s what to expect and how to cope.

There will be changes

Always. Even if you’ve had beta readers. Even if you’re a seasoned pro. Of the 14 or 15 full manuscripts I’ve submitted, there was only one where the editors didn’t want to change anything, beyond tiny niggles. Only one.

There are two kinds of feedback. In traditional publishing, agents – and editors in the initial stages – will tend to give brief, sweeping notes about character arcs, pacing, credibility and relatability. Even though these won’t be as detailed as the work an editor will do, they might keep you busy for a couple of months.

Moreover, an editor who does a detailed critique may have a different vision from those who have looked at it before. (Should you edit to fit another person’s tastes? A million-dollar question, which I’ll come back to.)

Anyway, most of us swallow hard when the detailed report arrives. This is what I do.

Critique report survival tips

Expect a large document that tackles your book in close detail. Sometimes very large – I’ve written 50 pages for a novice author (but there I’m also taking a tutoring role, so my commentary includes discussion of craft).

1 – Read the report without doing anything. Satisfy your curiosity. Don’t make to-do lists or open the manuscript. Just read.

2 – Set it aside. Yell, scream etc. Wait as long as your deadlines allow. This also lets you digest. When you’re even-tempered about it, start work.

3 – Some suggestions will be easy to fix. Some will be harder. Some will be praise and encouragement, though you might not have recognised them. Read through and mark the easy stuff – either highlight on a printout, or colour in the Word document. Tackle these immediately if it makes sense, and feel satisfied that you’re getting this under control.

4 – Now you’re limbered up – and are familiar with your manuscript again – you’re ready for the trickier suggestions. Separate out the ones you don’t agree with.

Suggestions you don’t agree with

Often editors make suggestions that skew the book in a way you don’t want. But they may have identified a significant problem. Disregard their solution and delve deeper for the source.

For instance, an editor who saw an early draft of Life Form Three told me it needed another viewpoint character and that one of my story devices was confusing. I didn’t want another viewpoint character, so I made the original one more relatable. The confusing story device was also important to me, so I reworked it. Result? He was happy because the problems were fixed.

Of course, if you have a traditional publisher, an editor might ask for changes to fit their list and readership. Use your judgement, but remember this: if you are named as the author (ie it’s not work for hire) a publisher can’t change anything without your agreement. Dig your heels in if there is something you really disagree with. In a worst-case scenario they might decline to publish, but this rarely happens. (They also can’t make you agree to a cover or title you don’t like, BTW.)

If you’re indie, you of course have complete freedom to decide what to change. But consider whether an unsuitable suggestion is pointing to a problem you should tackle in a different way.

Copy-editing feedback

What, another stage of feedback? I’m afraid so. Copy edits are done after main developmental feedback. But they can still throw up enough problems to make you gnaw the desk.

Copy editors notice the tiny details that slipped by when everyone had bigger problems in mind. They also catch the errors that crept in as you went over the manuscript again and again. The murder victim’s hair might have changed colour. The timeline is impossible.

It’s better to be pre-emptive about this. Keep tight control of these details as you edit – especially the timeline. Although you can probably correct physical details such as characters’ ages and hair colour with a few inventive text searches, you can’t fix the timeline so easily and the whole plot might unravel if it’s wrong. (I map out the timeline when I make my beat sheet.)

The beat sheet is one of the tools described in my book Nail Your Novel … more about it here

Thanks for the pic Brainedge

Do you have any tips for tackling critique reports? Did you ever disagree with an editor’s suggestions and what was the outcome? Let’s share in the comments!