CRITIQUING WHOLE NOVELS

While many writers are experienced in peer-critiquing shorter manuscript samples, it’s not so common to evaluate an entire unpublished novel. How does one avoid blurred memory after reading, when attempting to give useful feedback to an author? How do the pros approach whole-novel critiques—do they make notes on each chapter, mark the entrance of new characters, and so on?

Below are sample responses from current and past faculty. Apply these points (and emailed guidelines) when you critique peer novels for our seminar. At the event, we’ll also discuss faculty tips for whole-novel revision, to use in your own self-editing.

SAMANTHA GENTRY, Editor (2019)

As I’m reading/editing, I usually create a second document where I write a list of all of the macro ideas I want the author to address. These are more global changes that will effect multiple areas of the manuscript, or ideas that may need to be rethought or added to the current draft. These are often the main points I include in my editorial letter as areas to focus on. I also find it helpful to sometimes highlight entire sections of a manuscript (digitally, of course) where I know I have something to say, but don’t quite know how to articulate my thoughts yet. The highlighting is a great visual representation of sections I want to come back to, and often, I find that what I read later in the manuscript influences my thoughts on that earlier area.

KARI SUTHERLAND, Agent (2019)

I have a separate Word document open as I read whole novels where I jot down notes and reactions. Once I’ve finished reading, I’ll go back through my notes and organize them into sections: plot, world, characters/relationships, pacing, voice, and minor details. I’ll note page numbers or scenes so if I want to refresh my memory as to why I suddenly began disliking a character or felt the plot took an unbelievable leap, I can go back and read that section. For authors revising, I’d suggest doing separate passes so you’re not trying to address all areas at once. For critiquers looking at the whole novel, think about whether there was a point where your interest waned—that’s vital information for authors—or what your overall impression was of the characters and story. Who did you root for? Was the ending what you wanted or are you happy with it even if it’s unexpected?

Many times my edit letter poses questions to the author—pointing out things which the author has mapped out internally, but which are not coming across on the page. I do like to take a few days after I polish my edit letter to mull everything over as sometimes new solutions to a problem scene or logic hole will occur to me and I can add those in before sending the feedback.

MELANIE CECKA NOLAN, Editor

I always think about the big picture first—what works or doesn’t work about the story in the broadest sense. I keep a notebook, and jot down things that stand out to me—good and bad—and list the page number(s) as well so I can go back and reference that section if necessary. I tend to put a star next to any issues that come up more than once, since that may point to a more systemic problem within the story.

When I go back through my comments, it’s usually clear what things stood out or distracted me. Do I have a lot of stars next to comments about the dialogue not ringing true? Or it may be that I’ve written down a lot of things about the secondary characters seeming flat. Or perhaps I’ve noted a series of 10 pages here, and 20 pages there, where nothing seems to be happening.

When I eventually sit down to prepare an editorial letter (or critique), I’ll tackle the overarching issues first, and try to reference specific pages so that the author can go straight to that section to see what I’m talking about. I am also very fond of making smiley faces and noting lines that are really, really good, since critiquing should be about calling out everything that’s wonderful about a read, as well as the things that need strengthening.

SCOTT TREIMEL, Agent

I keep a notebook and jot down a word or sound byte that will recall the issue when I speak to the author. I do not comment on everything on a first read because one or two concerns often overwhelm the rest, and those big problems deserve the attention. I note the precise location in the story of problems I want to discuss.

Advice to writers: Accept that you must make fragmented notes for a while. You will better understand the story, see problems and strengths, as you read. Your thoughts will order themselves to become larger, encompassing ideas. Frequently review your fragments, enlarging relevant fragments to more substantive comments, while deleting fragments that have become extraneous as your critique takes focus.

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