Under Review!
We confess that we were startled, appalled, overwhelmed, and even a tad indignant when an editor considering our manuscript told us that while she loved Murder Off the Books, loved the characters,loved the humor, loved the dog - but (and that's when our ears perked up) - but we needed to cut 35,000 words.
To cut even one of our pearls would have been unthinkable, but 35,000? Surely she was joking.
She wasn't. She told us the story needed to be pared down to fewer than 100,000 words. We reluctantly agreed, all the while mumbling that no one ever asked J.K. Rowling to cut even a single adjective from Harry Potter.
But here's what we learned when we emerged bloody and bruised from a ruthless weekend editing session(far better that we made the decisions on what to cut in our story than an outsider were making those choices): The editor was right. Our story was bloated. If one red herring was good, we had littered the manuscript with dozens. By forcing us to focus on what was essential to the development of the mystery and added to the challenge for the reader, we cut out the fat and left a well-marbled story that has been a delight to readers and reviewers alike.
But here's the rub. This editor knew what she was talking about, but suppose she hadn't. How do you know which critics to listen to and which to ignore?
1. You say tomato, and I say to-mah-to. Like most things, fiction is a matter of taste. You can't be surprised that a friend who adores French existential literature isn't dazzled by your cozy mystery. On the other hand, your Great Aunt Martha, who has read mystery writers from Agatha Christie to Joseph Wambaugh, and everything in between, may have some helpful ideas about plotting, herrings, and denoument. In other words, does your critic have the interest and credentials (personally or professionally)to offer helpful criticism?
2. What's on the agenda? Not to be too cynical, but not all critics have your best interests at heart. You may not agree with the advice, but you need to be sure that it's given to be helpful, not to diminish or demean your efforts.
3. Thanks but no thanks. Regardless of the critic's credentials, you can also choose to ignore the advice. You may not agree that your book needs to be cut, a character needs to be changed, or a storyline needs to be deleted. Sometimes, you need to trust your own instincts. BUT, and here's the key to ignoring advice, you also have to be willing to live with the consequences. It's okay to tell an editor that you're unwilling to make a suggested change - but you also have to be willing to accept that the editor may choose not to publish your book. That's okay too. There may be another publishing house that would be a better fit for you.
4. Listen carefully, consider, than decide. Whatever the criticism, whoever the critics, listen to what is being said, consider the source as well as the advice, and then make a decision about what you think will work best for your book. If you are hearing the same criticism from multiple sources, however, it's at least worth taking under advisement that there is merit to the suggestion.
This time last year, we celebrated the forthcoming publication of our first mystery, Murder Off the Books. It was a long-time dream come true for both halves of Evelyn David. Our success is because of all of you. Your support and encouragement is the reason that as we start the new year, we are scrambling to finish Murder Takes the Cake. We are so very grateful and send to each of you our best wishes that in 2008, all your dreams come true.
Evelyn David
