Tips for Surviving an Illustration Portfolio Review

Today Jane Heinrichs, one of our recent Featured Illustrators, offers some guidelines on the challenge of organised Portfolio Reviews





One of the common experiences of any illustrator in SCBWI is attending portfolio reviews. 

We print out our precious illustrations.  We collate them in a folio. Butterflies breed in our stomach, so that we can hardly breathe.  What will the editor/agent/art director say?  Will this be my lucky day? Or will I feel overwhelmed by all their comments? 

No matter how experienced we are as illustrators, a portfolio review will always be an emotional event.  But, that’s ok.  Emotions are all part of the creative process. 

One thing we can do to make the experience as positive as possible is to be prepared.

Here are a few tips…

Preparation:

1. Dress to impress.  Most portfolio reviews are face to face, and while your illustrations are the most important factor, the reviewers will also be seeing you for the first time.  Make an effort to look good! I always make sure I’m wearing something smart, fresh and professional.

2. We love paper.  For years I bought cardstock from the local stationery store and printed my portfolio at home.  The prints were adequate, but not outstanding.  Then, I invested in getting my best illustrations printed professionally on real water colour paper. The reviewers noticed!  Some even ran their fingers across the pages, simply appreciating the gorgeous quality. (After all, don’t all illustrators and publishers love pretty paper?) It may seem like a big investment, but it’s probably the one thing I did that made the biggest difference. 

Detail of my printed watercolour paper

3. The little black binder. First impressions count. Get a really amazing PRAT or Panodia leather bound portfolio book to house your work.  They are expensive, but they last forever. If you show the reviewer that you value your illustrations, they will value them too! 

PRAT portfolio's from the excellent London Graphic Centre

Quirky business cards or postcards.  Make sure you have lots, and give them freely.
  

illustrator business cards I've collected

Just before the critique: 

1. Talking points. Make a list of a few things you want to mention to the reviewer.  Previous accolades.  Projects that went really well.  Future plans. Unique working methods.  If you have them ready in your head, you won’t run the risk of forgetting all the important stuff because of nerves.
2. Take a deep breath. It’s ok. They want to help.  Don’t be nervous. 

Communicate your passion for your art form.

 

During the critique: 

1. Make eye contact.  This may seem basic, but sometimes critiques can be so nerve-wracking that you spend the whole time staring at your trembling fingers. If you make eye contact and connect with the reviewer, they’ll take more interest in your work.
2. Explain your methods and motivations. (See above) As the reviewer looks at certain illustrations – and especially if they show interest – explain how you created the artwork, or describe the project it relates to.  Be enthusiastic! Communicate your passion for your art form.
3. Accept compliments.  If the reviewer likes a piece, say thank-you. Take credit for your talent; you’ve worked hard.
4. Ask questions.  You want to learn from this experience.  Here are a few of my favourite questions:   

• Which illustration do you think is the most successful?
• What should I focus on for future illustrations?
• What do you think I need to work on? (This is a humbling question to ask, but be brave!  You need to know in order to improve.)
• Make a list of your own questions based on what you think you need to work on most.
• Don’t be discouraged if each reviewer gives a different answer to the same questions.  Art is subjective after all! 

5. Say thank-you.  No matter what they said, make sure you shake their hand and say thank-you at the end.  
6. Keep the door open. Give them your business card and ask for theirs in return. Ask if they would be open to receiving some samples of your new (improved, amazing) work in a few months. Keep the communication lines open. 

Right after the critique:

1. Write it down. Take a few minutes to sit in a quiet place and make notes of everything they said while it’s still fresh. Even if it hurts. Even if tears are streaming down your cheeks.  Even if it’s amazing and you want to jump on the ceiling and giggle hysterically. Write it down for future reference.  
2. Save their details. Put their business card in a safe place. You don’t want to lose it!

 

Later…. Much later…

1. Review your notes.  Go over the notes from all your critiques.  Are the opinions wildly divergent?  Can you see any patterns?  Is there anything you can implement, even in a small way? 
2. Make a list of the opinions.  If you showed your portfolio to 100 people, you might receive 100 different opinions – perhaps not absolutely different, but lots of variations. Make a list of the positive comments and the negative comments.  Take in what they said; then make your own decision. It’s your artwork and your voice.  What you do has to feel true to your vision.
3. Try one small change. Make a small illustration with one of the comments in mind. Try to really push yourself.  Does it feel like you’re going in the right direction? If not, keep experimenting.  What’s the use of going to critiques if you’re not actively trying to improve?
4. Make an action plan. Keep making good art.  Actually, keep making fantastic art.  Send your new illustrations to your new contacts. Keep asking for feedback. And keep going to portfolio reviews. 

Finally…

Creating good art is a journey.  Each portfolio review adds light to the map that will lead you to artistic fulfillment.  When you’re making art, you never know where you are, or where you’re going; you can only see how far you’ve come. So, keep attending portfolio reviews, keep making notes, and keep experimenting; you’ll be surprised by your progress! I promise.

______________________________________________________



 

Jane Heinrichs is a Canadian born illustrator now based in London.
www.janeheinrichs.com
http://janeheinrichs.blogspot.com
Twitter: @janeheinrichs
https://www.facebook.com/JaneHeinrichsStudios

Critique

Philippa R. Francis who writes as K. M. Lockwood  

You may well have been to the Night-before Conference Critique Meet. It’s a brilliant, supportive way of getting feedback on your work. You might have done something similarly helpful by e-critique, or on a course.

Well forget that.


Instead, give your main character the critique from Hell. Show how they react when their precious work-of-art/ skill at parkour/Lego model is figuratively pulled apart. Are they apologetic, angry, defensive or disbelieving? Do they become bitter, withdrawn, vengeful or assertive? Are there deeper emotions – maybe the critique giver has hit a raw nerve, maybe they have a point?

I know it’s cruel – but it will show the true mettle of your characters – both giver and receiver.

Try this: show your protagonist suffering a sequence of uncomfortable critiques. Her incantations are too long-winded; their team’s ball-handling is useless; he kisses like a goldfish. Do it again - another failure, another harsh response.

Then and only then, when they have been knocked back at least twice, show success. The orphanage mistress, stern teacher or previously unimpressed uncle grudgingly acknowledges they did well.

How will they feel then? How will you show it? Blushes, cartwheels or a shrug?

In our critiques of each other’s work as illustrators or writers we are rightly exhorted ‘first do no harm’.

But when it comes to your characters, spare no feelings.

The motive of the critique giver is down to you. Is it unjust criticism by a snobby antagonist he will outwit, or is it a brutally honest commentary by the champion archer our heroine is desperate to emulate? Remember that the critique giver is the lead in the film of their life. Perhaps the seemingly pitiless shaman is just testing her acolyte. Then you get a great revelation later in the story.

We all love an underdog who triumphs – but we must see, and feel for them, being the underdog first. Be cruel to be kind.

---

@lockwoodwriter

K. M. Lockwood is a writing name of Philippa R. Francis. Once a primary school teacher, she became a graduate of the MA in Creative Writing at West Dean College in 2011. Her story The Selkies of Scoresby Nab was short-listed for the Mslexia Children’s Novel Competition and long-listed for the Times Chicken House in 2012/13. She was born in Yorkshire but now lives by the coast in Sussex. Her writing shows her deep fascination with British folklore and the sea. Her interests include reading, scuba diving and belly dancing, though not at the same time. She also blogs at the-wedding-ghost.blogspot.co.uk

Could a critique group be for you?

Annie Neild

A face-to-face critique group in action

"Find a good critique group,” is a piece of advice that is often given in books about writing and getting published. The suggestion is that if you’re serious about your craft, you ought to consider joining a critique group. So, what’s all the fuss about?


“I think critique groups are one of the most important writing tools,” says SCBWI member Justyna Golebiowski. “Having valuable feedback and suggestions from other writers who are not only writing and learning themselves, but who are unbiased too.”

Submitting your work for a critique can be daunting, but if you’re keen to develop your writing style or you’re at an impasse with a particular text, you may decide it’s worth the leap of faith. After all, sometimes it’s hard to see the wood for the trees. The objective comments of a critique group can help a writer regain valuable perspective. “Often I know there’s something wrong with my text and can’t quite put my finger on it,” says Alex English, journalist and picture book author. “A fresh pair of eyes makes all the difference.”

“A fresh pair of eyes makes all the difference.”

Most of us would agree it’s preferable to have the flaws in a text pointed out by a fellow writer than by an agent or editor. Nonetheless, be prepared for a full and honest assessment. “We stress to all new members that we’re a group whose members like constructive criticism, so the discussion is often pretty frank,” says Ruth Hatfield, co-founder of the Cambridge Writers writing for children group, “but always with the emphasis on making practical suggestions about possible edits, rather than just giving personal reactions.”

Since detailed, practical advice can be hard to come by when you’re trying to get published (or find an agent), joining a strong critique group is akin to tapping into a rich vein of constructive criticism. If your group shares work regularly it can be time-consuming to submit and comment each month, but you may well find that your critiquing commitments are absorbed naturally into your writing routine. Alice Hemming, who is published by Maverick Arts, says of her SCBWI online critique group: “I feel the group has really helped improve my writing and it now forms an essential part of my writing practice: I write a draft, show my husband, write another draft, post to Eureka!, edit and polish, then submit or shelve for a while.”

Cake always helps!

Although a critique group that discusses a broad range of genres, or sub-genres, has much to offer, it can also be helpful to find other writers working within your specific field or age-range. SCBWI BI has established, and manages, a range of these niche groups using a blog-based format. Alice describes the benefits of this kind of set-up: “Everyone in the group is a picture book writer, which is great. We all understand the importance of finding exactly the right word, getting the page turns just right and finding the right balance with our illustration notes.”

The online format of groups like EUREKA! engenders a different feel to a face-to-face collective. Online groups may occasionally meet-up in person, but members often live hours apart - even in different countries - so it’s not always possible. The general consensus seems to be that it doesn’t matter. “I was worried that an online group wouldn’t have the same synergy that happens with a face-to-face group,” comments Patty Toht, who also belongs to EUREKA!, “but surprisingly that still happens.”

Honorary attendees welcome

The synergy of a critique group can take time to develop. Trust is key, and once that trust has been established, space opens up for broader discussions between members. Experiences are shared, advice is sought and given freely, and achievements are celebrated. One SCBWI author describes the other members of her group as ‘supportive friends’. This is where the added value of a critique group lies. For many writers, published and unpublished, these groups offer support, friendship and camaraderie. They can be a crucial source of inspiration and creativity, as well as of constructive feedback. Writing is often a lonely experience and it can make all the difference to share your highs and lows with someone who understands exactly what you’re going through. If you’re willing to put in the time and effort, joining a critique group could be the best thing you’ll ever do.

---

Annie Neild is an unpublished picture book author. She joined SCBWI in 2012 and is a member/ moderator of their online picture book critique group, EUREKA! Annie has also been part of the Cambridge Writers writing for children group since 2010.

Critique - The Trauma!

By Maureen Lynas

You've shared your baby, risked depression, and asked for a critique. Eek! 

Your story (or you depending on your emotional viewpoint and place on the writerly learning curve) has been appraised, analysed, evaluated and judged.

Maybe it's been unanimously praised as being the next GINORMOUS thing. Maybe it's been found wanting. Or maybe, and more probably, it's somewhere between the two and you are now dealing with the aftermath of the critique – confusion. 

One of the great things about a critique session is that you get a lot of feedback and one of the bad things about a critique session is that you get a lot of feedback. There are so many comments, so many differing opinions, so many different solutions. What on earth do you do with all of this information? 

Perhaps how you react initially depends on your disposition and/or experience. On first reading (or hearing) the critique  . . .

You may only see the positive.

OR 

                            You may only see the negative.

Then, on second reading you may become very confused because you're receiving conflicting messages. 

So it's important to take a step back and analyse what you've have. I do LOVE to analyse. 

 

 

Meet Boggarty Bog, a distraught troll. 

 

Boggarty is writing her autobiography (picture book format, illustrated badly). The first installment - Boggarty Bog's Biggest Burps, details a traumatic event in her life where she lost the ability to burp, just after she's been goaded into entering a burping competition by her arch enemy, Sally Mander. 

Disaster! 

The critique arrives. It's a mixed bag of comments and she's had to resort to a quart of slug juice to get her through the trauma. 

 

 

The Comments:

 

Really? A book about a burping competition? The burping genre is soooooo finished. 

The opening line sets the character, the conflict and the tone. 

I love the protagonist! 

I hate the protagonist. 

Perhaps there's too much burping? 

I like that she has to drink ginger beer to make the burps come back but ginger beer's too English. I would change it to lemonade. 

There's too much ginger beer, no one could drink that much. 

Kids LOVE burping, you're onto a winner! 

At 900 words it's too big for a picture book. 

At 900 words it's just OK for a picture book. 

The beginning could be trimmed to get to the problem earlier. 

You've missed opportunities for escalation e.g. of burps, in number and loudness. 

I'd like to see more ginger beer, great opportunity for an illustrator to draw hundreds of bottles.

Why don't you add in a farting donkey. That would make it even funnier. 

Trolls don't drink ginger beer. Do they? 

You've used me instead of my – as in 'Blimey Bert, me burps have gone,' said Boggarty. Teachers won't like that, words should be spelled correctly. 

I laughed out loud when she was flying like a deflating balloon. 

Your use of rhetoric builds the comedy. 

The punchline is unexpected, the set up brings the threads together and it makes sense. 

The polarity of the characters' personalities creates conflict. 

The story has a symmetrical structure.

I don't understand the setting, why are you living in a house? Why aren't you in a cave? 


Such a lot of conflicting comments. Now what does she do with them? Well, bless her, she isn't very far up the learning curve so most of her reactions are a bit emotional. 

What do they mean too many burps! You can never have too many burps! Escalate? Polarity? Conflict. I'll give them conflict! 

Cue more slug juice with a dash of powdered frogspawn. 

What can she do? Well, she can... 

Divide a piece of paper into two columns:

Positive and Negative 

Choose two coloured pens. One for Subjective (blue). One for Objective (red). Write down each point from the critique. At the bottom, add in any solutions that have been offered. 

Positive:                                                                            

                 

The opening line sets the character, the conflict and the tone.                                                 
                                                                       
I love the protagonist! 
                                                                                                
Kids LOVE burping, you're onto a winner! 

At 900 words it's just OK for a picture book. 

Your use of rhetoric builds the comedy. 

The punchline is unexpected, the set up brings the threads together and it makes sense. 

The polarity of the characters' personalities creates conflict. 

I laughed out loud when she was flying like a deflating balloon. 

The story has a symmetrical structure. 

The ending is sooo funny. 

Negative:

Really? A book about a burping competition? The burping genre is soooooo finished. 

You've missed an opportunity to increase the conflict between Boggarty and Sally on page 6. 

There's too much ginger beer, no one could drink that much. 

At 900 words it's too big for a picture book. 

You've missed opportunities for escalation e.g. of burps, in number and loudness.

I hate the protagonist. 

Perhaps there's too much burping. 

The beginning could be trimmed to get to the problem earlier. 

You've used me instead of my – as in 'Blimey Bert, me burps have gone,' said Boggarty. Teachers won't like that, words should be spelled correctly. 

Trolls don't drink ginger beer. Do they? 

Solutions:

Why don't you add in a farting donkey. That would make it even funnier.

I'd like to see more ginger beer, great opportunity for an illustrator to draw hundreds of bottles. 

I like that she has to drink ginger beer to make the burps come back but ginger beer's too English. I would change it to lemonade. 

I don't understand the setting, why are you living in a house? Why aren't you in a cave? 


The next step for Boggarty is to remove the subjective comments. Then: 

• Work out which of the objective comments require research e.g the word count comments may both be true depending on which publisher she’s submitting to. 

• Work out which comments point towards learning new skills e.g. what exactly do they mean by opportunities for escalation? 

• Look at the solutions; are they highlighting a real problem? What other solutions could she come up with – it’s her story, she should solve the problems. 

Of course, she can’t do this until the effects of the slug juice has worn off and the emotional pain has been dulled. This could take weeks. Months. Years. 

---

Maureen Lynas is the author of the Action Words Reading Scheme and a member of thefuneverse She was a 2012 Undiscovered Voices winner and blogs on writing on Notes From the Slushpile where you can see all about her current work in progress - The Best Witch.

Picturebook (E)Critique Too! Who We Are, And What We Do!

By Lesley Moss

Picturebook Critique Too! (PB Too!) was the second peer-led picture book e-critique group for SCBWI_BI. Over three years from its inception it is still running, with many of the original members plus some lovely later additions. Candy Gourlay set it up, and passed the moderating baton to me, now ably assisted by Liz Miller. 

We have authors and author-illustrators of all backgrounds and all stages in the group, which makes for an interesting mix. We are quite a relaxed group, and take time out when we need to. And this seems to work for us. It must – as we’re still here, and still critiquing!

I asked the members about their work, their experience of PB Too! and how it has helped them develop their work.

First up: Joint Moderator Liz Miller! 

I write picture books but have been known to pen the occasional early reader, and I was excited to be Highly Commended for ‘The Pirate Who Liked Pink’ at this year’s Winchester Conference. I joined PB Too! in January 2011 and my time on the e-critique waiting list has been well rewarded. 

I've been lucky to have met quite a few PB Too! members in person at SCBWI events, including the recent Picture Book Retreat. You don’t need to have met to work together well as a group but it's been great to have had these opportunities and who knows, it may help to strengthen the group dynamic. I love the 'Oh yes...', 'Why didn't I spot that?', 'That's a good idea!' moments that come from my ever honest but always constructive and supportive fellow PB Too’ers. 

But it's not just about the critique - I really enjoy the sharing of event information, the cheering of success and the hands that reach out from the emails when someone's had a setback. It's what being a member of SCBWI is all about for me. 

Let's hear from our Author-Illustrators: 

Illustration ©Jamie Stevenson

Jamie Stevenson

I'm a fine artist, a scribbling, doodling crafty person who loves children's books, especially picture books! My illustrations are mainly in pastel or acrylic, and like my writing, tend to be humourous and quirky. 

Wanting to improve my writing/illustrating but with no other PB members around, I looked for an online critique group, becoming part of PB Too! when it was first formed. It is great to be in contact with such a brilliantly sunny collection of talented people, now friends, helping and cheering each other on, having feedback and advice. This lovely little group has made a big difference to me! 

Illustration ©Rikin Parekh

Rikin Parekh, author-illustrator

I worked as a storyboard artist/creature designer on feature films but being a children's picture book author-illustrator is what I was put on this earth to do! I've illustrated four picture books for MX Publishing and am looking for an agent/publisher for my own picture books. I’m now a Year One Teaching Assistant with the nuttiest of kids too! 

I joined PB Critique Too! in March 2012 and since then I have had the pleasure of being critiqued by the nicest, most honest and creative writers. As a group we all want success for each other and I've experienced many gold nuggets of advice, feedback, constructive criticism and a constant force of positivity. Due to this, my writing has improved by leaps and bounds. I feel more confident as an author-illustrator and am so glad to have joined this wonderful group! 

Illustration ©Holly Gatrell

Holly Gatrell, author-illustrator

I joined the critique group after meeting Lesley Moss at an Exeter Sketchcrawl in July 2012. This was the start of my SCWBI journey. I am about to complete my Masters Degree in Illustration. Joining the group was great for me as my MA was distance learning and I was the only person studying children’s books. It has enabled me to understand so much more of the art of writing for children. The group members are really supportive and it’s inspiring to be able to exchange thoughts with such talent, and with published authors and illustrators. It’s great to learn from people who know what they are talking about! 

Illustration © Kate Pankhurst

Kate Pankhurst

I illustrate picture books and young fiction. I recently had my first books as an author-illustrator published (Mariella Mystery Investigates). I love doodling, my favourite subject is anything funny or icky and I'm particularly fond of monsters, dogs and detectives. 

I work from home and being part of PB Too! makes my job seem less solitary. I'm always really inspired by how much work is created by the group – it definitely spurs me on to get that picture book idea I've been mulling over finished off! Having peers to help polish an idea up before sending it in the 'real world' is incredibly useful too.


And now, from our authors: 

Alfie’s Great Escape, by Kate Irwin 

and Clare Elsom, Egmont

Kate Irwin, author of 'Alfie's Great Escape', Blue Bananas, Egmont

The PB Too! group is invaluable to me. I write my stuff, bounce it off my nearest and dearest, then it goes to PB Too! before sending it in for a professional critique. Then, if all goes well, to submission. The PB Too! people are honest, positive, and a pleasure and honour to be involved with. I can't imagine writing life without them now. 

It is also a huge joy to see other people's work developing and taking shape, and improving massively over time. And the debate over what we think works or not is fascinating and informative. Quite possibly the best thing about my SCWBI membership. 

www.karenowen.co.uk

Karen Owen

I’ve had one picture book published, I Could Be, You Could Be. I love being a member of PB Too! because it’s the first place I turn to when I’ve written a new text. Supportive and constructive comments from writers and illustrators make a big difference, especially as I’ve had to learn to think more about the pictures as well as words. 





Lois Johnson

I’m a picture book writer and I also write children's novels, mainly middle grade books for 9-12. I have an MA in Creative Writing: Writing for Children. I think it's great being a member of PB Too! as it's a bonus getting an insight and comments from illustrators as well as other pb writers. I feel the group is very supportive and the generosity of people who spend time giving detailed, helpful comments is wonderful. Very often we are too close to our own writing to be objective but by being a member of such a great group, we can post our work confidently knowing any comments offered are with the sole intention of helping us improve. 

Sheryl Webster:

I've been a member of the group for three years. I find the group invaluable in helping me to shape and enhance my story ideas into more polished texts. Often the obvious errors are staring you in the face, but it takes a fresh pair of eyes to see it. The group offers honest and constructive advice and the support we all give each other is just fabulous. I feel we are at a stage now where we 'know' each others styles and how each person works. I feel really privileged to be working with a group I trust, whose opinions and advice help so much. 

I have had 18 titles published to date, some of which are picture books such as What Small Rabbit Heard (OUP)  Wee William (OUP) Noodle's Knitting (LTP) Tinysaurus (Anderson Press) and some reading scheme titles, including The Bug Club series for Pearson. I also enjoy writing early fiction for older age groups. 

Lesley: 

I wasn’t sure about the wisdom of online critique, but PB Too! converted me. I saw the way critiques could turn a script around, and how analysing someone else’s work could help in learning about editing. We’re also lucky to have a lovely guest contributor, Anne Rooney, who drops by occasionally with informed advice and information! 

I think this dedicated group epitomises SCBWI values, and I thought its members deserved a shout – out!

 

If you are a member of the SCBWI and are looking to join a critique group either online or in your local area, take a look at the critique information page on the SCBWI British Isles website. 

 

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Lesley Moss joined SCBWI in 2003 and over several years has volunteered for SCBWI as SW Joint Network Organiser, e-critique group moderator for Picturebook Too! and the Poetry e-critique group, which became www.thefuneverse.com (run by Maureen Lynas). She writes 8-12 fiction, picture books and funny verse. She originally studied art and design and spent some years in community arts, including a spell as a mime animateur, working creatively with children of all ages, and much more. But her first love is writing.

Polishing the first draft – Savita Kalhan

YA author, Savita Kalhan, is August's guest blogger.

In keeping with our critique month theme, Savita writes about how she self-edits her manuscripts before submission. Read on to discover her top tips!






Hooray – you’ve just finished your first draft, written THE END in block capitals, breathed a huge sigh of relief, poured a glass of something cold and fizzy, and taken the rest of the day off because you’ve earned it! The temptation is to read the manuscript through or even begin editing it the very next day.

DON’T.

If you can bring yourself to do it, put the manuscript in a drawer for at least a week, longer if you can. I would recommend leaving the manuscript for up to a month, although I have to confess that I only manage a couple of weeks. Fill the time in between with catching up on reading, book blogs, social media, working on your public profile, writing short stories, researching ideas for a new book, writing opening chapters etc, etc...

If you can bring yourself to do it, put the manuscript in a drawer for at least a week, longer if you can.

Once the manuscript has been left for as long as possible, only then can you take off your WRITER hat and don your EDITOR hat. Revising a manuscript, apart from writing it of course, is one of the most important aspects of writing.

So what’s involved? This is what I typically do.

READING – first I read the manuscript through. I’ll usually constantly read and edit as I’m writing the first draft, but this is different. I’m now reading it not as a writer, but as a critical reader. I’ll be looking for several things – or become aware of them as I’m reading. Then I’ll begin editing, making sure that any changes I make remain consistent with the rest of the manuscript.

The process includes the following elements:

• Plot – check for inconsistencies. Introduce or develop sub-threads if necessary for more depth, cut irrelevant scenes.
• Pace – pace is vital in teen/YA fiction, so cut out anything that’s boring, cut out repetition, cut out extra adverbs, cut out unnecessary words. Look at strengthening big scenes, heightening tension, and making sure there is a very strong beginning to the book that sweeps the reader through to the middle and racing towards the end. In other words – maintain a strong story arc.
• POV – the voice must come through clearly and remain consistent throughout the book, as it should with all the characters. Characters should be fleshed out and made real for the reader. If the main character’s voice is not strong, you will lose the reader.

POV - the voice must come through clearly and remain consistent throughout the book, as it should with all the characters. 

Once I’ve finished I call it my second draft. It goes in a drawer again for a while and when it comes out it gets read again with all the above points in mind. If I’m happy with it, then it gets edited again anyway, and if I’m not, the manuscript gets another complete overhaul. Otherwise it’s onto the next step, which is looking at punctuation, checking dialogue, and anything else that has leapt out at me. By now I’ve printed several versions of the manuscript, which I always keep just in case I want a scene back I may have cut, or if I lose the current version!

Then I read the manuscript aloud. I usually ask a very trustworthy person, someone who is a big reader with a good critical eye and isn’t afraid to be one hundred per cent honest, to read it for me. The manuscript may go back into the editing suite again at this point after which it will be read again. Eventually, I promise you, it will be ready for other eyes to see, but not quite yet...

I read the manuscript aloud again, adjusting anything that jars or doesn’t sound right. Polishing a manuscript does take time, and it feels like a never ending process of reading and editing, but it’s worth it. Editors will be unlikely to accept a manuscript that needs a lot of work – they just don’t have time for it. The story must grab them immediately, and hold their attention throughout, so polishing is a vital part of writing.

Once the manuscript has been revised and polished, you can finally prepare it for submission! Remember to follow the relevant guidelines in terms of formatting the manuscript and its presentation before you submit.

GOOD LUCK!

---

@savitakalhan

Savita Kalhan is the author of the teen/YA thriller The Long Weekend published by Andersen Press, and her short story The Poet, is published in the anthology Even Birds are Chained to the Sky. For several years she lived and taught English in the Middle East, travelled the world, got married in Manila, and now lives in North London with her husband and son. Watch the book trailer for The Long Weekend here.

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