Developmental and Structural Editing: What’s working, what’s not?

There comes the time when the book is ‘done’ and the revising stage arrives. How do you decide what to attack in the revision process? What questions do you need to ask of yourself and your novel? Here are guidelines to best-approach the developmental and structural editing stage.

Characters

Are they likeable?

Are they active or passive?

Do they complement the story or add extra baggage?

Do the characters seem to complement each other? (Can be in a negative or positive way)

Are their traits consistent and believable?

Do we know enough about them? (I.e. Are they 3D?)

Setting

Is the world you’ve created/place you’ve described convincing?

Do we want to spend time here?

Does it have depth? A presence?

Is the description of place organic and fitting?

Does it require fact checking?

Plot

Does it seem plausible?

Is it predictable?

Does the reader care about the outcome?

Is the reader satisfied with the ending and outcome?

Finding An Agent: The head and the heart of the matter

Finding an agent is a great balance between using your head and your heart. Your head tells you to ask all the hard-hitting questions when you get an offer:

• Which publishers/editors will you submit the book to?
• How many deals have you done in this genre?
• Do you see the need for revisions upon signing?
• What’s your preferred method of communication?
• Can I get a recommendation from a current client?

While all those (and more) are important questions to ask, you also need to follow your heart. Did the agent make you feel comfortable? Can this be a person you can hear the good and the bad from? An agent and client engage in a long-term partnership that needs a mix of affability and professionalism. You’ll know it when you find it. There’s a lot to be said about gut feelings and emotional reactions.

Agents’ public persona is something intentionally or unintentionally developed online through their website, agency listings in directories, social media like Twitter and Facebook and their blogs. Is the agent you were querying the person you thought they’d be once you got on the phone with them?

When you get an offer the way you lean–logical/methodical, emotional/sensitive, or anywhere within the spectrum–needs to be carefully reflected upon to make the best decision with the information you have.

Get the facts, but also gauge your reaction and feelings towards your offer. It’s a happy problem, but one that needs to be the best decision for you.

“Stories fueled by intentions never reach their boiling point”: Writing advice from Bret Anthony Johnston

Do you write with a strict outline or a loose concept?

While there’s no right or wrong answer there are pros and cons to each strategy. A strict outline can keep your thoughts on track and provide you with motivation even when writer’s block may hit. And a general concept might be too broad and leave you without a narrative arc. However, being strict with your outline can give you tunnel vision and you might be missing out on a new, more truthful path for a character, which is something a loose idea lets you play around with.

Writer Feedback in the Publishing Industry

Taking feedback and criticism is never easy. Especially when the feedback directly relates to the body of work you have put so much time, effort and emotion into. Stepping back from the immediate reaction of a) ‘They only read 3 chapters, what could they possibly know?” b) “I just received an editorial letter, I must revise immediately” or c) “How am I supposed to make sense of all these revision notes and feedback?”

Whether the feedback comes from beta readers, agents, or editors, no matter what stage of the publishing process you are in you must be patient with yourself, don’t jump to conclusions and take everything with a grain of salt. There will be extremes; someone will think you need to cut and revise 100 pages to speed up pace and someone else will think the pace is great but the characterization needs work. Joni B. Cole says it best: