I recently had the opportunity to review more than a hundred stories in a short space of time–all from writers seeking feedback. By the time I was done, I felt like I’d had a master class on writing—I learned as much from the stories that needed work as I did from the ones that were ready. There really is no substitute for critiquing—both the giving and receiving of it.
If you belong to a group such as SCBWI or 12×12, take advantage of the critique forums. Read as many stories in a row (and the feedback) as possible—it’s like a mini slush pile. You’ll learn buckets just reading stories in all sorts of stages. And when you’re ready, return that blessing by critiquing and adding your own stories.
I remember feeling overwhelmed as a newbie to comment on the stories of other writers. I also remember feeling petrified to allow others to see my work, but my writing didn’t progress until I sought those critiques.
Illustration notes—the bane of a writer’s existence. There are so many conflicting opinions about illustration notes, it’s hard to know where to begin. First off, an illustration note is a quick description of what the author envisions at a certain point in the story. The notes are intended to stand in place of an illustration that might be needed in order for the reader to understand what the author intended.
An illustration note is not a play-by-play of how the author sees the characters, settings, and scenery of the story.
I wish I could say that I’m a proofreading genius, but alas, I make dumb mistakes daily. When I worked in PR, we had a system of proofreading each other’s writings, which was a luxury.
We’re not always in a position to get a second read on our writing before we have to send it out on a deadline of one sort or another (I’m not talking about manuscripts, you should always get multiple critiques of those). If you’re writing a post, or a query, or if you had a manuscript edited then changed something at the last minute, you still want to make sure you go over your work.
I spent an evening nit-picking, literally, my kids’ hair (you have to love those ‘lice has been found at school’ notices), then I had to sit down and nit-pick a post I’d been working on. I missed things I shouldn’t have missed.
Let’s face it, writing is just one of many roles we take on each day and some days we aren’t as fresh as others. And even if your eyes are rested, your brain fills in mistakes. So it’s possible to read something a thousand times and not catch a glaring typo. Sadly, that typo becomes brighter than the noonday sun once you click the send button on a query to your dream agent. So what can you do when you truly don’t have a second pair of eyes to proofread something that has to go out ‘right now?’
These are tricks I’ve used before:
Read you’re text backwards. sdrawkcab txet er’uoy deaR. This method is great for catching double spaces after periods (for those like me who grew up with word processors and can’t kick the habit), misspellings, apostrophes in places they shouldn’t be and pesky words like your and you’re. Did you catch that, in fact?
If not, then read your stuff upside down to.
Did you catch the two errors above? I often don’t in my own writing. You’re, your, to, too don’t show up on spellcheck and even if you know the rule for each one, your fingers may miss a key and your brain may skip over it because it knows what you meant. If you don’t know the rules regarding the use of each one, see here: http://www.livejournal.com/resources/homonyms.bml
Use Find on your keyboard to catch those pesky homonyms. Ctl F for MS Word/PC Command F for Mac. Put in your, too, their, etc. and go through with the Find option to double check each one.
Copy the text out in long-hand. Read each word as you write it.
E-mail the document to yourself and read it in your email. Any change in format will help re-awaken your brain and give you a chance to catch the things you may have missed.
A picture book text can paint a picture or it can set the stage for a corresponding visual story. Sort of the difference between
… and sailed back over a year and in and out of weeks and through a day…” (Where the Wild Things Are)
In the great green room there was a telephone …” (Goodnight Moon).
The first one paints a mood that the art alone can’t tell. The second one creates an image that accompanies the text. Both are good for the story they are telling, both create a visual without taking over for the artist.
The trick, as a text-only picture book creator, is to realize that you are a visual artist. Your text needs to create moods and images word by word, sentence by sentence, and it has to do it page by page and beginning to end.
One way to set yourself up for success in this area is to storyboard. Storyboarding your text will give you visual feedback on how your text works on each page. If you have a text-heavy page, you’ve either stepped into the artist’s area, or you have too many words, or your story may not be best suited as a picture book. You also need to be aware of your page turns.