See also: Perspiraton: Self Study
Laura Atkins has seven years of experience in editorial departments at children's publishers, as well as an MA in children's literature, and offers a children's book manuscript critiquing service. From her time in editorial departments, Laura knows that those who had their stories critiqued by others (such as belonging to a writer's group, attending creative writing workshops, or seeking professional advice) often stood out from the enormous number of unsolicited manuscripts. Whether you are trying to send your story to publishers, or to find an agent, it is always helpful to get advice and feedback from an expert in the field.
Laura will review manuscripts for picture books or novels for middle grade or young adult readers, and give you her thoughts on how she sees a manuscript working in terms of plot, narrative voice, character, pacing, and anything else of note. She knows how important it is for creative people to get positive feedback, so while being honest, she will be careful to highlight what she thinks is working as well as where she would suggest development. Before committing to work on something, she will briefly review it to let you know if she feels she can be helpful.
She charges $75/£50 for a picture book manuscript of up to 3,000 words, and $5/£4 per page after that (double spaced, 12 pt font, one inch margins).
For middle grade or young adult fiction, she charges $250/£175 for up to 120 pages, and $375/£250 for up to 300 pages (same specs as above). Payment can be made by credit card using Paypal, or by check or money order in either dollars or pounds.
She prefers that a manuscript be delivered via email, and will give feedback within six weeks. Please email her for more information: laura@lauraatkins.com.
Bonny Becker is the published author of seven children's books, including picture books and novels. (See the list below) She's a frequent speaker at writers' conferences with a particular expertise in plotting and story structure. She has years of experience critiquing children's fiction and have served a number of times as a judge in the Children's Writing category for the Pacific Northwest Writers Conference. She also has a Masters degree in Creative Writing from San Francisco State University.
She loves picture books and middle grade novels, and that's her specialty. And she loves working with writers to figure out how they can be true to their vision and voice, and yet write the most effective story possible.
Her charge is $100 for a picture book—that includes some fairly specific line-editing (word suggestions, places to cut, grammatical and stylistic issues, etc.) on the manuscript itself and a separate written critique related to story structure, character development, voice, etc. related to the type of story you're writing.
For novels, she charges an initial fee of $200. She reads as much of your novel as she can in about two hours and then provides verbal and written feedback and talks with the writer about where to go from here. A big part of the process is learning what you're trying to accomplish and exploring with you how to get there. Often there are big issues to deal with in terms of character development, plot and theme and often a major rewrite make sense. It's a gradual process, and she works with the writer to decide what kind of editing and level of critiquing makes sense as they go along.
Here's her book list:
She would be happy to answer any questions about her services off-line. You can e-mail her at bjb@site7000.com.
After 22 years at Viking and seven as cofounder of Roaring Brook Press, Deborah Brodie is now a freelance editor for publishers and a book doctor for literary agents and individuals. She also teaches creative writing in the MFA program at the New School in New York City and is an MFA mentor at Simmons College in Boston.
Bruce Coville, author of the international best seller MY TEACHER IS AN ALIEN and the wildly popular UNICORN CHRONICLE series, says, “Deborah Brodie knows the book business inside out. With her keen knowledge of structure she can help a struggling author get the book that's hidden inside . . . out!”
Deborah approaches manuscript doctoring as a one-on-one tutorial about the field of children's books and how the writer can find a place there. In every aspect of her editorial work, she focuses on supporting and advocating for the health of the author and the work.
Tracey Adams and Josh Adams, Adams Literary Agency: “Our clients value Deborah’s vast publishing knowledge, in-depth editing, and nurturing presence."
Deborah works on exactly the same range of genre, age group, and subject matter as she did during the thirty years she worked in publishing houses. She edits concept books for the very youngest to chew on (literally!), picture book art and text, learning-to-read and early chapter books, middle grade fiction and nonfiction, teen fiction and nonfiction, plus fiction and nonfiction for adults.
Mary Pope Osborne, best-selling author of the MAGIC TREE HOUSE series: “Working with Deborah on Happy Birthday, America was wonderful. She helped me shape the unfolding plot of the story.”
Much of the strengthening of a manuscript takes place in cutting out didactic passages, refining the language, and getting to know the characters so well that actions and emotions are credible and the point of view makes sense. Deborah believes it comes down to trusting your reader enough not to spell out every detail and, of course, to be willing to revise, revise, revise.
Susan Cohen, agent, Writers House Literary Agency: “Deborah truly wants what’s best for a book and for her authors—and she knows how to help them achieve it.”
Deborah sees her main responsibility as asking questions—the right questions—that lead the author to new insights and practical new approaches to plot, characterization, pace. She often suggests writing exercises to shake things up and help move the author in a more productive direction. Sometimes she works out “homework” assignments to keep up the writing momentum.
Rosemary Stimola, agent, Stimola Literary Studio: “Deborah Brodie is a consummate professional and editor of distinction … a visionary, able to dig into a narrative and bring it to polished perfection while enhancing a writer’s voice.”
Deborah’s fees are commensurate with her thirty years’ experience as a working editor and creative writing teacher. The most extensive work involves detailed notes throughout the text, plus a multipage editorial letter highlighting the strong points and giving specific suggestions for parts that need strengthening. If it’s appropriate, she suggests a plan for the writer to move ahead in revising, as well as with career planning. And she always provides an opportunity for back-and-forth about writing and publishing.
Jean Marzollo, author of the bestselling I SPY series: “Deborah is great to brainstorm with. She really cares about making books the best they can be.”
Deborah’s fees for this in-depth editorial work for picture books start at $250; novels and nonfiction projects start at $3,000. For a second round of revising on the same fiction or nonfiction project, fees start at $500; picture books at $100. This includes light copyediting and editorial polishing.
Jane Yolen, author of almost 300 books for children, teens, and adults: “Anyone really interested in publishing the very best book they can write could hardly do better than with her editorial advice.”
She also offers a lower-cost alternative—a consultation on the phone (or in person, if it’s possible to meet in Manhattan). She bills the phone or in-person consultation at an hourly rate, usually $200/hour, plus a reading fee.
The consultation is for discussing general comments about voice, characterization, plot, audience, format, and market. The author may also ask questions about writing and publishing.
David A. Adler, author of the best-selling CAM JANSEN series: “Deborah first noticed Cam Jansen’s potential and helped establish Cam in one of the earliest First Chapter books ever published. She’s a talented editor.”
The turnaround time depends largely on the length and complexity of the manuscript. She allocates a range of 2–8 weeks, a time frame tailored to the individual needs of the project and the author.
Her Web site, DeborahBrodie.com, is being designed by Lisa Firke of Hit Those Keys and launches this month. To reach Deborah, please e-mail a Word document of the manuscript, plus a brief synopsis of the plot, to ManuscriptHelp@aol.com. She will review the work to get a sense of what's involved, and then she’ll get back to you with a fee and schedule.
Patricia Reilly Giff, author of two Newbery-Honor winners, LILY’S CROSSING and PICTURES OF HOLLIS WOODS: “Deborah Brodie is a wonderful editor, warm and responsive to the writer. She's worked with me on several of my books, and each one became richer because of her advice.”
Rachelle Burk teaches an adult education course in Writing for Children in East Brunswick, New Jersey; and is published author of fiction, nonfiction, and poetry for children (see website for list).
She minored in creative writing and has years of experience critiquing manuscripts, many which have subsequently been published. She is a writing mentor for an annual Teen Arts event, critiquing manuscripts for high school writers.
Rachelle offers critiques of picture books, chapter books, articles, and poetry for children. She will point out your strengths and weaknesses, and provide feedback on plot, pace, voice, dialogue, character development, style, and structure. When needed and/or requested, writers will receive line-editing such as word choice, and suggestions on where to cut. Manuscripts are accepted by email. Fees start at $25 for a 5 page manuscript. For complete fee information, log onto www.RachelleBurk.com and click on Critique Services, or email at Rachelle.Burk@comcast.net.
Jill Esbaum's picture book critique service offers:
Fee: $100 per manuscript.
Manuscripts should be under 1000 words, typed and double-spaced.
Please e-mail jillsbooks@netins.net for further information.
Margot Finke unveils the mystery of Voice, Focus, Rhyme, and that all important Hook. Polish your picture book or mid- grade novel with either an Overview or an In-depth Critique. Go to "Critique Service" Page.
Rebekah K. Goering has launched a critique service for children's-YA writers. Rebekah has completed an editorial internship with Dial Books for Young Readers, reading and responding to manuscript submissions, and comes with the highest recommendation of Dial's Editorial Staff as well as that of authors Jane Kurtz and Nancy Werlin. Nancy says, "Rebekah served as an early reader for my most recent YA novel, THE RULES OF SURVIVAL (Dial, 2006), and I can't recommend her strongly enough." Rebekah charges $50 to critique picture book manuscripts and $1 per page to critique novel manuscripts. For more information and/or to request services, contact Rebekah at rkurtzgoer@hotmail.com.
Author Lila Guzman, Ph.D. coaches four-to-five children's/adult writers annually, helping them to revise manuscripts in progress. She charges $3 per page (Courier New, 25 lines per page). There is no charge for a synopsis or query.
Clients receive a reading and critique of their work, including line-editing and suggestions for improvement. Re-reads of revised manuscript are offered at no charge. In addition, six weeks of classes focus on craft issues (point of view, pacing, etc.) that have arisen from the manuscript at hand. Once the novel is sold and the contract signed, the client takes Lila out for a champagne and lobster dinner.
Lila doesn't accept every writer who queries. Prospective clients must first submit to her for consideration the first ten pages of a novel in progress.
Lila's writing has been awarded by the National League of Pen Women.
Read about Lila at her website (http://www.lilaguzman.com/) and view more details about the critique service at http://www.lilaguzman.com/Critique.html.
Esther Hershenhorn is well-acquainted with both writing children's books and today's world of children's book publishing. Her award-winning children’s titles include the picture book CHICKEN SOUP BY HEART, winner of the Sydney Taylor Book Award, and the middle grade novel THE CONE$$ION$ AND $ECET$ OF HOWARD J. FINGERHUT, a Bank Street College Best Book of the Year and a Crown Award nominee.
Esther teaches adult Writing for Children classes at the University of Chicago’s Writer’s Studio, the Newberry Library and Ragdale, an artist’s residency program in Lake Forest, Illinois.
Esther also works with members of the children’s book community to advocate children’s books and their creators. She serves both on the Board of Directors of The Society of Children’s Book Writers and Illustrators, an international organization that numbers 20,000 members, and as the Regional Advisor of the organization’s 900-member Illinois Chapter.
Esther works with writers — wherever they are in the writing and publishing process — to help them discover, craft and market their stories. Her careful manuscript readings and thoughtfully-worded comments reflect her teaching experience, her publishing experience and her talents and skills. The writer learns not only which story parts work and which parts could work better, but which parts should always work to tell any story well. In a successful picture book, the writer offers up concrete details from which the reader draws Life's Universal Truths. Esther works hard so her comments do the same, so that from her specific criticisms of a specific manuscript, the writer learns the tenets of writing for children in today's markets. She also work with writers who are eager to respond to editorial requests for revision as well as with writers eager to self-publish their stories and projects.
Esther's fees reflect the hours necessary to offer a comprehensive and thorough reading and analysis. The fees vary, according to manuscript length and format, but are based on her hourly rate of $75.00.
To learn more about Esther's Writing Coach services, visit her website www.estherhershenhorn.com.
To learn more about Esther’s fees, email her at: esthersh@aol.com.
“When I gave up my own editorial service, I searched for someone who could take it over for me who had the same dedication to the care and nurturing of writers that I had put into the job. I found that person in Esther Hershenhorn.”
—Barbara Seuling, author
HOW TO WRITE A CHILDREN’S BOOK AND GET IT PUBLISHED
“Other ‘coaches’ may have followed her lead, but on the writing field, Esther Hershenhorn is the Phil Jackson of Writing Coaches. Time spent with her is truly transformative, both for the author and for the work.
—Esme Raji Codell
Chicago, IL
www.planetesme.com
“As a writer new to the mid-grade genre, my greatest challenge (besides the writing process) was locating objective guidance on my work. My graphic novel had hatched so many plot lines and characters I couldn’t keep track of who was where or doing what to whom. I vowed to locate the absolutely best Writing Coach in North American and, voila! met Esther at an SCBWI conference. She patiently helped me find my way through the maze of confusion that had tied my story (and stomach) into knots.
“Esther knows her stuff, has a sparkling sense of humor and a complete understanding of structure, characterization, plot and dialogue—the works. She’ll (kindly) help you discover your story’s strengths and weaknesses and fire you up in such a way that you’ll enthusiastically rip into re-writing. Best of all, once you’ve worked with Esther, she holds you in her heart and consciousness ad infinitum. The Ever Ready Bunny Writing Coach, Esther continues to work on your behalf, frequently passing along snippets of writing/marketing tips relating to your work.”
—Molli Nickell
Publishing Consultant, Cover2Cover
Tampa, Florida
“Working with Esther Hershenhorn is one of the best ways a writer can improve his or her craft. Esther has the unique gift of respecting your voice without imposing her own point of view. Her insightful questions jump start your creative process and her sensitive comments are the catalyst for change. Drawing on her background as teacher,writer,editor,she thoughtfully compiles an adjunct reading list with your specific writing needs in mind. Engaging in a dialogue of ideas with Esther is a truly empowering experience.With unflagging enthusiasm,she encourages one to forge ahead with confidence and focused intention. I strongly believe that hiring Esther Hershenhorn as your Writing Coach could make the difference between getting another ‘good rejection letter’ or your finally nailing it with a contract!”
— Mimi Chapra
Philadelphia, PA
AMELIA’S SHOW-AND-TELL FIESTA (HarperCollins, 2003)
SPARKY’S BARK (HarperCollins, 2006)
Suzanne Lieurance offers the "Working Writer's Coaching Program." See also The Lieurance Group blog.
Amy Lin (formerly Amy Hsu) has launched editomato, "a small, online business offering developmental editorial services to children's book writers aiming to be published in the trade market." Find out more. Note: before leaving Little Brown, Amy was Greg's editor.
Writersinkville: children's book authors and freelance editors, Judith Ross Enderle and Stephanie Jacob Gordon, welcome published and aspiring authors to their Writersinkville website. Visit the library for book information. Check out Town Hall for upcoming workshops and conferences. At School find school visit information. Don't miss the Post Office, Writersinkville Press, Calabash Street Forum, or the Butcher Shop, where you can find great links. The site offers editing tips, information about Writers Ink Critique Service, and lots of fun.
Lara M. Zeises is the author of several award-winning novels for young adults, including BRINGING UP THE BONES, CONTENTS UNDER PRESSURE, and ANYONE BUT YOU, all through Delacorte Press. In addition, Lara writes what she calls "brainy chick lit with soul" under the pseudonym Lola Douglas for Razorbill, an imprint of Penguin/Putnam. As of September 2006, Lara will be offering a professional novel editing service. She has worked closely as a critique partner for several successful YA authors, including Laurie Faria Stolarz (of the best-selling Blue is for Nightmares series), Kim Ablon Whitney (SEE YOU DOWN THE ROAD), and Tea Benduhn (GRAVEL QUEEN). She's also mentored student authors who've gone on to sign contracts with major imprints, like Wendy Lamb Books, and one who was recently awarded the prestigious Writer-in-Residency at the Boston Public Library.
Lara's services include:
The cost for this personalized attention is $3 per properly formatted, double-spaced manuscript page. Re-reads of the reworked project will be offered at a substantial discount. Authors who've worked with Lara will receive a $50 discount toward the online revision workshop Lara team-teaches with Laurie Faria Stolarz.
Although she prefers to work with full manuscripts, Lara would consider editing a partial MS if the project is far enough along and the premise interests her.
For more information about Lara and her work, visit her on the web at www.zeisgeist.com. You may also want to review her blog at http://zeisgeist.livejournal.com.
An Interview with editor Deborah Brodie from Alice's CWIM Blog.
"Think of a writer as being like a carpenter. The writer's toolbox should grow over the years; her skills should increase. At first she can only build a rough tool shed; by the end of her career, if all goes well, she can build a castle--or a perfectly balanced Shaker cabinet."
--Nancy Werlin,
Young Adult author of
THE RULES OF SURVIVAL