Whether it’s a plot that plods or a rhyme scheme run amok, Bonny Becker understands the common missteps of the beginning children’s writer.
The Seattle author and instructor for the Institute of Children’s Literature has been a popular and oh-so-empathetic voice on the 1,000-member Children’s Writers listserv, gently guiding writers of all levels in their quest.
Now Becker, the author of several books including The Christmas Crocodile and My Brother the Robot, has ventured into offering professional critiques.
Barbara J. Odanaka interviewed Becker via e-mail about the ins and outs of the critiquing business.
ODANAKA: What should a writer expect from a professional manuscript critique? Isn't being in a critique group enough?
BECKER: Often it is. Lots of writers make it just fine without the likes of me! But often both are valuable. Many people come to me after they’ve used their critique group. They like another set of eyes and they like responding to one person’s input that they trust. A professional critiquer is usually someone who’s worked in children’s writing--a former editor, a published writer, a writing teacher--but also, hopefully, someone who has a knack for critiquing and editing. Many people can tell you a story isn’t working, but they can’t really tell you why.
A good critique should include an assessment of the story, an identification of strengths and weaknesses, and ideas for improvement usually including general comments and some specific line editing on the manuscript. And ideally the comments will resonate with you. It will confirm that niggling feeling you had, but couldn’t quite face, about your characters or your plot or whatever. And the suggested direction should help open up the story for you.
The level of detail may vary and one critiquer’s style may work for you and another’s may not. Some are abrupt and very business like; some serve more as a friendly guide, so if you can get a sense of a critiquer’s approach beforehand that’s worth doing.
What you can’t expect is a guarantee of publication. There are too many factors outside of the critiquer’s control and outside of your control, but a good critique should help substantially improve your story.
ODANAKA: What are some of the most common problems you see in the manuscripts you critique?
BECKER: Lack of a solid story. I’m not talking about stories that intend to mostly evoke a feeling or create a mood. These are stories that want to be stories, but aren’t there. Often writers don’t quite know what their story is, so extraneous stuff gets in and important stuff gets left out. This doesn’t mean a thing about the talent or hard work of the writer. It’s very common. It’s often hard to see exactly what your story is. Or to see how to change an idea, a notion, into a story. I always tell writers to learn as much about story structure as they can.
The other thing I see is a failure to follow through on a pattern in the writing. This happens a lot in picture books. The writer will set up a rhyme scheme or some pattern like going through the seasons with an idea, but then they won’t follow through 100 percent. They’ll want to “cheat” just a little because it’s become hard to carry on the pattern they set up. I’ve tried to “sneak one by” myself many times. But once you set up a pattern you have to deliver on it.
ODANAKA: What, for you, is the most challenging aspect of doing a critique?
BECKER: I worry the most about hitting a balance between honest, useful feedback but not discouraging the writer. I’ve heard of critiquers who say things like “you’ll never make it as a writer” or “shows no promise.” I would never dream of doing that. I’ve seen too many writers grow and improve amazingly. But I don’t want to patronize them or waste their time either. So I’m always working for a balance that moves their work forward. The focus should be on the work, not judgments about talent or artistic merit.
ODANAKA: Do you accept all manuscripts for critique, or just those you believe show promise?
BECKER: I accept virtually all manuscripts. I try not to second guess whether or not a story will ultimately be published. That’s up to the publishers. I just try to make the story before me the best it can be.
