Crits for Water Interview with YA Author Brigid Kemmerer

(Or, Taking Things by STORM)

A charity water fact: 300 children die per hour from water-related diseases.

Which is why author Brigid Kemmerer is spending the release day of her novel STORM doing something charitable. She’s donated a 20-page critique to the 2012 Crits for Water campaign. I won her critique last year, and let me tell you—she’s awesome!

Meet Brigid.

~~~

Brigid Kemmerer was born in Omaha, Nebraska, though her parents quickly moved her all over
the United States, from the desert in Albuquerque, New Mexico, to the lakeside in Cleveland,
Ohio, and several stops in between. Brigid started writing in high school, and her first real “novel
was about four vampire brothers causing a ruckus in the suburbs. Those four brothers are the
same boys living in the pages of The Elemental Series, so Brigid likes to say she’s had four teenage
boys taking up space in her head for the last seventeen years. (Though sometimes that just makes
her sound nuts.) Check out her blog and find her on Twitter.

~~~

NAE: What is your favorite thing about writing a critique?

Brigid: I'm not great at writing an overall critique. One of my crit partners (hi, Bobbie!) is exceptional at qualifying what works in a scene on many levels, and can send me paragraphs outlining my characters' motivations. I'm honestly convinced she knows my characters better than I do. I prefer to go through a manuscript and make comments as I go -- and there will be several.

NAE: What is your favorite thing about receiving a critique back?

Brigid: I love receiving critiques on my work! I'm a perfectionist, and I love hearing what's not working -- so I can fix it. I used to get the knee-jerk reaction of, "Don't criticize my work!" just like everyone does when they're first starting out, but once I learned that people are genuinely trying to help me improve, I stopped feeling that way. Now I look at every criticism as an opportunity. I'm also secure enough in my own work to reject a change if I don't feel it's working -- as well as to admit I'm wrong if something is genuinely crap.

NAE: Why is critiquing important?

Brigid: Critiquing work for others is the best way to develop your own editorial eye. While writing workshops are great places to hone your craft, they can be expensive. I could never afford to do one, so I critiqued as many manuscripts as I could. It's a quick (and FREE) way to learn what works, and what doesn't.

NAE: Your critique style is like which of the following: Red Pen Editor, Overall Commenter, Supportive Critic, You’ll Know It If I Catch It?

Brigid: I'm a combination of the Red Pen Editor and the Supportive Critic. I'm going to mark obvious errors, but I'm also going to put reasoning behind my bigger picture changes and explain why I think a change is necessary. I also try to look for places where something is working WELL, because I think it's easy for writers to fall into the habit of only looking for the bad.

NAE: Name one of your favorite 2012 books (coming out or already released), and why.

Brigid: So far I've loved UNDER THE NEVER SKY by Veronica Rossi and I'VE GOT YOUR NUMBER by Sophie Kinsella.

~~~

Crits for Water Quickfires – And, Go.

1. Oxford comma?   Absolutely.

2. Should "I like him too" have a comma before "too"?   Yes. And if it shouldn't, my copy editor will catch it. :-)

3. Italicize or underline?   Italicize!

4. How do you separate scenes: #, ***, line break?   I use three pound signs: ###

5. What's your favorite verb?   I have no idea. I like the word "saturnine," but that's an adjective.

Because this is her second year participating in Crits for Water, you can check out her previous thoughts about critiques here: Critique Until it’s Automatic.

~~~

If you want to see if your writing has the elements of a great work-in-progress, take a look at Brigid’s 2,500-word critique here. In the meantime, check out her debut release, STORM.

Becca Chandler is suddenly getting all the guys-- the ones she doesn't want. Ever since her
ex-boyfriend spread those lies about her.Then she saves Chris Merrick from a beating in the
school parking lot. Chris is different. Way different: he can control water--just like his brothers
 can control fire, wind, and earth. They're powerful. Dangerous. Marked for death. And now
that she knows the truth, so is Becca. Secrets are hard to keep when your life's at stake. When
Hunter, the mysterious new kid around school, turns up with a talent for being in the wrong place
at the right time, Becca thinks she can trust him. But then Hunter goes head-to-head with Chris,
and Becca wonders who's hiding the most dangerous truth of all. The storm is coming. . .

~~~

Thanks, Brigid, and happy release day!

Crits for Water Interview with Agent Suzie Townsend

(Or, Following Great Characters Anywhere)

A charity water fact: Unsafe drinking water results in diseases like dysentery, parasitic infections, and typhoid fever, killing 10,000 people per day.

Suzie Townsend is painfully aware of this statistic, which is why she jumped at the chance to donate to the 2012 Crits for Water campaign. And her donation is huge: a full manuscript critique with a two-page write-up AND a follow-up phone call. Bid early and often. We’ve got a lot of lives to save.

Meet Suzie, and read what she’s revealed about critiques.

~~~

After teaching high school English for several years, Suzie Townsend is now an agent at Nancy Coffey Literary actively looking to build her list. She’s an active member of AAR, RWA, and SCBWI.

Suzie is specifically looking for adult romance (historical and paranormal) and fantasy (urban, science fiction, steam punk, and epic fantasy). In children’s books she loves Young Adult (all subgenres) and is dying to find great Middle Grade projects (especially something akin to the recent movie SUPER 8).

She drinks too much diet orange soda, has a Starbucks problem (those soy chai lattes are addictive), and lives in Brooklyn with two dogs who know that chewing on shoes is okay but chewing on books is not. Check out Suzie's Publisher's Marketplace page here. She also keeps a blog. And you can follow her on Twitter here.

~~~

NAE: After a writer gets back an in-depth critique, what would you recommend in terms of a review/revise process?

Suzie: My first recommendation would be to read all of the notes--just read them. I would even go as far to say that sometimes the best revisions come after reading the notes, thinking about them for a few days, and then devising a plan of attack. This works especially when there's a lot of work to do. I always recommend to my clients that they attack the easiest revisions first, that way they can build up to the harder notes.

Really though, I think it's important for every writer (and reviser!) to remember that they need to find the the best method for them.

NAE: What’s one of the worst mistakes a critiquer can make?

Suzie: Making it about them. It's important for every critiquer to approach a manuscript with the idea that this is about the book and about readers. When you're doing a critique, you're not writing a review or your opinions. You have to focus on aspects of the writing and the storytelling that don't seem to be working as well as they could be, explaining why, and offering suggestions on how to make it work.

NAE: When you critique someone’s work, what is your general process?

Suzie: It depends. I approach each project differently. Usually I read through the manuscript once and jot down thoughts about overarching aspects like characters, worldbuilding, plot, pacing, etc. At the end of that read, if I have a lot of thoughts, I'll reread and type up and editorial letter. In contrast if all of my thoughts are minor, then I'll reread and do some line edits.

NAE: Is there one specific thing that you gravitate toward while critiquing?

Suzie: My first concern is always the characters. Readers will follow great characters anywhere. The stakes are high when you love the characters because you care about what they care about whether they're trying to stop a terrorist attack or just graduate high school. But for me I always start out looking at the big ideas: characters, worldbuilding, pacing, and plot.

~~~

Crits for Water Quickfires – And, go:

1. Oxford comma?   Whatever. I'm not particular as long as I'm not confused.

2. Should "I like him too" have a comma before "too"?   It depends how it should be read.

3. Italicize or underline?   Italicize

4. How do you separate scenes: #, ***, line break?   Whatever.

5. What's your favorite verb?   Acquiesce.

~~~

Thanks for the interview, Suzie, and for such a great donation to the campaign!

Okay, everyone. If you’d like to see if you’ve created a great character that Suzie would follow anywhere, bid on her full manuscript and follow-up call here.

Crits for Water Interview with Author Anna Randol

(Or, Consistent Characters: Vital)

A charity water fact: A trip to find water takes up to 6 hours for women and children to collect. Disease-ridden water.

Because some people don’t have any choice. But historical romance author Anna Randol is working on giving these people more choices, because she’s donated a 25-page plus query critique in the 2012 Crits for Water campaign. 

Please help me welcome Anna.

~~~

Anna lives with her family in Southern California. She writes sultry, adventurous Regency romances
 for Avon. Her debut novel, A Secret In Her Kiss, is set in Constantinople and earned a starred review
from Publisher’s Weekly, who called it a “...masterful debut…[that] spins a tale replete with mystery,
espionage, and memorable romance.” When she’s not plotting fun, sexy storylines, Anna’s usually
 eating dark chocolate, having wild dance parties with her kids in the living room, or remodeling her
house one ill-planned project at a time. She loves hearing from readers at her website or on Twitter!

~~~

NAE: After a writer gets back an in-depth critique, what would you recommend in terms of a review/revise process?


Anna: This is the process that I find works for me. First, get a large amount of chocolate and soft, non-breakable objects. Then with eyes closed, click the button to open the critique. After you’ve built up your courage, eat some chocolate, then open your eyes. (After all, I’ve never heard of anyone having a mental breakdown while eating chocolate). Read the critique through once. Throw convenient, nearby, soft objects at your computer. Eat more chocolate. Step away from the computer. Take a moment to actually ponder what the critique said. Read the suggestions again. Realize the critique giver actually had a few—okay, lots—of good suggestions. Incorporate the edits that resonate with you.

NAE: What is the one piece of advice you can give to someone trying to develop his or her critique skills?

Anna: Read a lot! And read a lot out of your comfort zone. For instance, I have a weak spot for Beauty and the Beast retellings, but if all I read are those stories, how will I be able to give useful feedback to a my crit partner’s gritty, post-apocalyptic zombie mystery? I’m not saying you have to be an expert in all genres to be a good critiquer, but I think it helps to understand there can be a difference between what I personally like and what is good or workable. It’s important to remember you are trying to make the work you’re critiquing the best it can be, not rewrite it to be the book you would write.

NAE: When you critique someone’s work, what is your general process?

Anna: I read through once and try to get a feel for the characters and pacing. I’ll only make notes if my hand becomes possessed and I have no choice (or it’s some little thing I’m afraid I’ll overlook later). Then I sit back and think about the book—sometimes even over several days—and consider what stuck with me (the good: e.g. great heroine, fast plot, funny dialogue) and what is nagging at me (The things I’ll suggest changes in: e.g. plot holes, inconsistent motivation etc.). After that, I will go back and do line edits and mark the good and the bad and, hopefully, be able to explain why for both.

NAE: Is there one specific thing that you gravitate toward while critiquing?

Anna: Not grammar. Seriously, I can read right over the worst mistakes.

But plot and character consistency are vitally important to me, as is making sure every character has strong motivation for their actions. If I don’t know or believe why your heroine is going down into the dark basement, there will be many scribbled notes from me.

Crits for Water Quickfires: And, go.

1. Oxford comma? Always. Can’t have strange items unintentionally pairing up.

2. Should "I like him too" have a comma before "too"? Yep. (Although I always forget to add it.)

3. Italicize or underline? Italicize.

4. How do you separate scenes: #, ***, line break? Umm…can I combine answers? I do ###.

5. What's your favorite verb? Quash.

~~~

Thanks, Anna. Love that: quash.

Anna’s debut novel, A Secret in Her Kiss, is available here.

A rare beauty, raised in the exotic heart of the mysterious East, Mari Sinclair knows it’s time to end her 

career as a British spy when she narrowly avoids a brush with death. Unfortunately, there are those
who think otherwise—and they are not above using blackmail to keep Mari in the game.

Saddled with a handsome, duty-obsessed "minder" to ensure that she completes—and survives—one
last mission, Mari is incensed . . . for her guardian, Major Bennett Prestwood, is simply too dedicated, too
unbending, and too disarmingly attractive. But in the face of dark secrets and deadly treacheries, as the true peril
 to Mari is slowly revealed, loyal soldier Bennett realizes that to save and win this extraordinary woman, he will
 have to do the unthinkable and break the rules—rules that passion and desire have suddenly, irrevocably changed.

 ~~~

If you’d like to find out if your characters have that vital consistency, check out Anna’s Crits for Water 25-page plus query auction here. 

Crits for Water Interview with Intern Brent Taylor

(Or, You Can Call Me Critiquer)

A charity water fact: Every day, women miss work and children miss school just to find water. Filthy water.

Intern and freelance critiquer Brent Taylor would rather these women able to work and their children in school. He'd also like to provide them with clean water, which is why he’s helping the 2012 Crits for Water campaign. He’s donated a 50-page critique of a young adult or middle grade manuscript (available Wednesday, April 18^th). Two things about him: he’s super nice and he’s got style.

Say hello to Brent.

~~~

Brent Taylor, former gymnast and definite Kelly Cutrone <3er, loves kids' books and coffee,
and he interns for a literary agent.  He also blogs about books and occasionally writes.

~~~

NAE: What valuable lesson have you learned from one of your critiquers/beta-readers (feel free to share who it was)?

Brent: I have to give a shout-out to my friend J.H. Trumble, author of DON’T LET ME GO, who has graciously critiqued every piece of writing of mine since the day we met. J.H. has ripped apart every essay, every research paper, and really taught me precision.

NAE: What’s one of the worst mistakes a critiquer can make?

Brent: A big mistake I think is seeing a plot point, or an emotional arc in a story, and mistaking a simple dislike for a weakness. As far as tastes go, we’re all completely different, and every person has a different idea of the perfect story. However, I witness a lot of critiquers pointing out something they didn’t like and illustrating it to the writer as a weakness, when really it’s not—it’s a difference in taste.

NAE: When you critique someone’s work, what is your general process?

Brent: I do whatever the writer asks me to do, so it is case by case, but generally I line edit as I go along, and then I look at the manuscript as a whole and think about all the weaknesses I can pick up.

NAE: Is there one specific thing that you gravitate toward while critiquing (e.g., plot, grammar, characters, emotions, etc.)?

Brent: Definitely characters and their emotions, but I’d like to think I have a good eye for plotting as well.

NAE: Is the process for critiquing different age groups and genres different?

Brent: Why yes, Mary, it is. If I’m reading a YA, I’m more focused on the characters and their emotions. With Middle Grade I’m more hard on the voice and the concept. If I’m reading a, say, adult mystery, I’ll be more hard on the plotting and tension-building.

Crits for Water Quickfires: And, go.

1.    Oxford comma?   Yes, yes, yes. A million times yes.

2.    Should “I like him too” have a comma before “too”?   Depends on personal preference. When I’m texting and in a hurry, the comma goes flying out the window. When I’m all Fitzgerald-y, commas adorn every other word.

3.    Italicize or underline?   Italicize, because the Modern Language Association tells us so.

4.    How do you separate scenes: #, ***, or line break?   Three asterisks centered is industry standard.

5.    What is your favorite verb?   SHOPPING. READING. EATING. All fantastic verbs that hold mightily dear places in my young heart.

~~~

Thanks, Brent! If you’re wondering if the first 50 pages of your YA/MG manuscript has the beginnings of an emotional arc, take a stab at his Crits for Water critique here (on Wednesday, April 18^th).

Crits for Water Interview with Agent Sara Megibow

(Or, Speak to Me)

A charity water fact: 1 in 4 children in Africa die by the age of five from water-related disease.

Sara Megibow wants to save the lives of these children during the 2012 Crits for Water campaign (run by her client) with the help of the online writing community (read: you). Sara told me that she’s excited to help, so much so that she’s donated a 30-page critique to the cause (up for bid starting now: Monday, April 16^th).

Meet Sara.

~~~

Sara Megibow is an Associate Literary Agent at the Nelson Literary Agency.

The Nelson Literary Agency specializes in representing young adult fiction,

romance (all genres except category and inspirational), science fiction and fantasy,

commercial and women’s fiction (including chick lit) and high concept literary fiction.

The Nelson Literary Agency is a member of AAR, RWA, SFWA and SCBWI. Submission

guidelines can be found here. Visit Sara’s Publisher’s Marketplace site to learn more

about her personal tastes and recent sales. You can also find her on facebook, and on twitter.

~~~

NAE: What is your favorite thing about writing a critique?

Sara: As an agent, I choose manuscripts from the slush pile when they really speak to me. Yes, I do offer editorial services to my clients, but my mantra in general is that I'm looking for books to sell, not books to edit. So, if I review a manuscript that's great, but not sell-able as is, I don't offer a critique and I pass on representation. That's one difference between an agent and a critique group. However, when I do fall in love with a book and start working with an author, then we talk about the manuscript and I love the process of digging in to see how we can make the work stronger. For me, my favorite part about writing the critique is when the book is speaking to me, I feel connected to it, and there is something obvious that I see and can point out to the writer to make it stronger.

NAE: Why is critiquing important?

Sara: For me, critiquing is important because I am hoping that an author presents to me a polished manuscript. When that happens, then I can offer representation and we can go on to sell books, make money and woo readers. I love it when clients tell me they are part of a strong and helpful critique group - it's a wonderful asset to a writing career!

NAE: Your critique style is like which of the following: Red Pen Editor, Overall Commenter, Supportive Critic, You’ll Know It If I Catch It? 

Sara: Good question! Hmmmm….I guess I'd call myself a supportive critic. I tell my clients that their books are always their art. I may have suggestions, but ultimately it's their work and they can veto my suggestions. If I'm working with an author already, then I do a ton of cheerleading. Lots of "great work" and "you can do it."

NAE: What do your clients tell you they most appreciate about your agenting style?

Sara: I tend to be pretty chatty with my clients. They receive an email from me at least once a week - with sales numbers, submissions updates, subsidiary rights updates, marketing ideas, contract updates, etc. Many authors say it takes forever to hear back and that's true. It's not because agents and editors are drinking martinis all day (I wish), but because we're insanely busy. So, I try to keep my client list small and be as communicative as possible. That's the one thing I can add to this journey called publishing that I feel my clients appreciate.

NAE: Name one of your favorite 2012 books that is coming out or already released.

Sara: I read an advanced reader copy of KEEPING THE CASTLE by Patrice Kindl. It was absolutely hilarious, very smart and one of the best books I've read in years! It's basically a satire of a regency historical romance in which a young woman must marry well in order to support her family, but the mysterious stranger acting as her business liaison keeps getting in the way. I can't say enough good things about this book - if you've ever read an historical romance novel or want a truly unique and literary novel, this is it.

NAE: What specific type/style of manuscript is on your Must Have list this season?

Sara: Excellent question! The answer isn't an easy one though, so here we go...

Anything unique and well-written. I know that feels like a cop-out, but it's the truth. I would sign 10 more urban fantasy authors if the best manuscripts I saw this year were urban fantasy. I don't shop by genre or sub-genre, but rather by quality of writing. If I open a submission and fall head over heels in love, then that's the book for me. I rep science fiction and fantasy of all sub-genres and for all reading ages (except picture book or chapter book). I rep romance (all sub genres except category and inspirational). And I rep young adult and middle grade fiction. So, if it's in one of those categories, I will read the query with relish. After the query stage, my decision is based on quality of writing. This is why critiques help so much - the manuscript must be 99% polished in order for me to offer representation. It's my job then to take it to 100% polished before sending it to editors. Then, the editor will spend just as much (if not more) time making it 101% polished so it can compete in the marketplace.

~~~

Because Sara is so committed to the Crits for Water campaign, this is her second year of participating. Check out her interview from the 2011 Crits for Water campaign here. Thank you, Sara, for this interview and for your dedication to this wonderful cause.

Do you think you have a unique, well-written project to send Sara? Bid on her 30-page critique on Monday the 16^th to see how much your work speaks to her. Good luck!

Crits for Water Interview: Author/Agent Lucienne Diver

(Or, Enhance the Vision) 

  

On your marks, critiquers/writers. My friend Kat Brauer means to raise $10,000 this year for charity water, and she’s rounded up a wave of authors and agents who’ve offered critiques. That’s right, my comrades-in-ink. You’ll have bucketsful of chances to bid on coveted critiques, while also helping people who will never be able to thank you. Every $20 earned for the campaign provides water for an individual for 20 years.

So, thank you.

As part of the campaign, check back here for critiquerly interviews with the donating authors/agents. I’ve pledged to help spray the news everywhere. And hear this: these people are fantastic.

Ready, set, go.

~~~

A charity water fact: Over a billion people lack safe water. That accounts for one-sixth of the world's population.

That’s why author/agent Lucienne Diver has donated a 20-pagecritique to the 2012 Crits for Water campaign (available now, April 11-12). This woman does it all, and one lucky Crits for Water participant will win Lucienne’s full attention.

~~~

Lucienne Diver is a literary agent with The Knight Agency.  She has over eighteen years experience in the areas of fantasy/science fiction, mystery, suspense, romance and young adult fiction.  She writes the Agent Anonymous articles for the SFWA Bulletin, as well as the Vamped young adult series for Flux Books and the Latter-Day Olympians series for Samhain Publishing, beginning with Bad Blood.  Further information is available on The Knight Agency website: www.knightagency.net, her author site: www.luciennediver.com and her blog: http://luciennediver.wordpress.com.

~~~

NAE: After a writer receives an in-depth critique, what do you recommend in terms of a review/revise process?

Lucienne: I recommend waiting a few days after reading the critique to even begin the revision process.  Let the comments sink in, give your back-brain a chance to work on the solutions.  Also, this gives you the distance to react practically rather than emotionally to comments.  We all want to hear that our work is truly wonderful, and hopefully your critiquer will let you know where things have succeeded as well as where they've failed.  But the real benefit of a critique is discovering weak points so that they can be corrected before they become a reason for rejection.  Review and revision gives the writer a chance to make the work all it can be.  Once you've gone through the revision, read the whole work over again to make sure that you didn't introduce any inconsistencies or redundancies or skip over anything that might have been too overwhelming to tackle the first time through.  You'll be amazed at how many errors remain no matter how many times you've read a work.  The more read-throughs you do, the more you'll catch.

NAE: What is one of the worst mistakes a critiquer can make?

Lucienne:  There are two types of editors or critiquers: those who help the writer enhance his or her vision and those who try to impose their own. Don't be the latter.  Remember, it's not about how =you= would write the work.

NAE: What is your general process when you critique someone’s work?

Lucienne:  Because I represent over forty authors, many of whom write multiple books a year, I don't often get the chance to do a second read before critiquing.  This means that I read once, but very carefully, making notes as I go about inconsistencies, problems, sections that happened too quickly or two slowly and all off that sort of thing.  My approach is different depending on whether I'm reading material that's about to go out on submission or a manuscript that's already under contract.  In the case of the former, I do line and copyedit as I catch things, because I don't want anything at all to distract an editor from the quality of the writing.  On the former, I know that the editor, copyeditor, etc. will sweat the small stuff, and I mostly make comments about bigger issues.

~~~

Thanks, Lucienne. If you’d like Lucienne to enhance your work’s vision with a 20-page critique, follow thedirections here (available April 11th). 

Good luck, save lives, and thank you again.

Got Critique?

(Or, Crits for Water: Open for Business) 

Hello <waves>. It's been a while since my last post, and I've missed youse guys. I've been busy working on lots of things, mostly raising money for an autism service dog for my son. His safety is top on my list of priorities. The good news: it looks like we're getting his dog in October. <cue celebratory music>

But that's not what I wanted to talk about in this post. There's something urgent going on right now in the world, where lots of kids are not safe because of one basic need. Water.

Which is why I hold young adult author Kat Brauer in the highest esteem as she opens her 2012 Crits for Water Campaign with a new goal: $10,000. You might remember last year when I interviewed some of the authors and agents who donated critiques. Kat has outdone herself this year, and her cast of critiquers begins now and continues through June.

Well, they're back, eager to critique your projects. It's a win-win situation. Donate to save lives and receive valuable feedback on your work.

Check out the schedule of critiquerly offerings and decide which one you'd like. Go on. Save a life or two.