Defining the role of a Manuscript Assessor

This article was first published over at Write Anything.

Publishers do not have the time or resources to nurture or develop authors and manuscripts as once perhaps they may have had. Many have been quoted in admitting that they will only show interest in a submission which is more than 95% ready to print. It is therefore up to the author, more than ever, to have their manuscripts in the best shape before submission and this requires expert advice and assistance. The place a manuscript assessor has been long shrouded in uncertainty; but it is with these professional people that your masterpiece can be honestly reviewed and assisted on its way toward being published.

Your first port of call, after you have self edited and perhaps had a trusted friend or colleague edit or look over your manuscript, is to have it assessed. From there, after working on the suggestions they have submitted, you find an editor who suits your style, genre and expectations and begin the process of working with them to polish your work to the standard required for submission and publication. Similarly, if you were looking at going into business or starting a franchise, you would seek specific and professional advice, if you are serious about getting published, ensure you have a budget to cover professional advice.

What is a Manuscript Assessor?

Its an assessment is a health/ direction check of what you have written. Simply put, an assessor will assist in developing an authors work to the potential where it can be edited and presented then to a publishing company or a literary agent for representation. A reputable assessor will supply you with a report and a copy of your manuscript with text notes and cross referencing throughout it. Its then up to the author to work by themselves – or with the assessor ( at an extra charge) to re-edit their work utilizing the report they are given.

What does an Assessor Do?

The Assessor will supply an extensive report which will look at structure, storyline development, character development, pacing, language usage and the consistency you utilize within your language. Some assessors will also note any legal (liable) issues they may feel are attached to the work. Some of the things an assessor may also comment on is the pageturnability and general audience acceptance of the material. An assessors role is to understand the essence of the story and the work you have submitted. If they are unable to identify it, then its likely the author is unsure and its certain that the public will be confused as well. A simple way of identifying the essence of your work is to finish this sentence. “This is a story about………. (using up to 15 extra words to complete)”

Whats the Cost?

Assessors generally work per word count, with the usual fees for an 80k manuscript around US$300 – $600. Most countries have voluntary professional bodies for Assessors which have strict membership guidelines and codes of conduct. A professional Assessor will have testimonies and examples of their reports and work readily available upon enquiry.

There are a number of different types of manuscript assessors, some specializing in specific genres or formats, others generalists. Assessors are not necessarily authors but tend to have worked extensively in the publishing field in order to have relevant experience for their reporting. Ensure you have identified exactly what feedback and service you require when you being your search for one of these people. Regardless if you are looking to self publish or go down the more traditional paths of publishing, an assessor will ensure your manuscript is at its best to be presented to whilst giving you detailed feedback with practical tasks and strategies for improvement.

Information was gathered through an open mike interview with three Manuscript Assessors at a recent writers festival.

Next week, I’ll define the role of an editor.

Manuscript Image by El Chupacabrito via Flickr

Writing The Twist in your stories

This article first appeared over at Write Anything.

One of the most enjoyable types of short stories to both read and to create is one with The Twist. An integral part to the art of writing this successfully is to not reveal the crucial line or clues too early. In fact, the later on in the story, the more impact it will have. The unexpected ending, usually with tones of irony or coincidental circumstance; brings a great deal of enjoyment to the reader, despite the initial shock or surprise they may experience with the sudden turn of events.

I would suggest, as a basis for writing a story with a twist, that you include these steps.

Shocked Face Image via Wikipedia

Stay focused from the start.

There is some debate on the word count for Flash Fiction (The standard, generally-accepted length being under 1000 words) and Short Stories ( usually under 2500 words). Regardless of the length, its best not to waste words, focusing on drawn out build ups to a crisis. In the same way you cannot waste words on giving your characters long winded descriptions of vast backgrounds. The focus for your story is to feed your reader information which will muddle their perception of the events as they unfold and then to offer clarity with the twist you introduce.

Look for a different POV

The twist in your story means that you are leading the readers to certain assumptions without deceiving them, but in the end they discover that they were incorrect. Look at the prompt or inspiration you have for your story and note different perceptions about that ‘thing’ or event. Look at it from animate and non animate points of view and from the eyes of different genres. Perhaps to tell this story you will need to depart from your normal or comfortable genre.

Sketch your Plot Out.

Plot your basic story in a predictable manner ( ie the ending which most readers would expect) Review key events or decisions characters make within the story and look past shallow perceptions to find a deeper, or darker motivation for those events to take place. Keep thinking of misconceptions and different points of view until you come across one you like and then plot the basics of your story. With that knowledge, review the ending and rewrite your sketched out finale. Be sure to decide what your surprise or twist will be before you begin writing your first draft.

The Smoking Gun.

Although there are no hard and fast rules with writing a twist in a story, you must adhere to one of Chekhov’s major principals of the Smoking Gun. “If you fire a gun in Act III, it must be seen on the wall in Act I; and if you show a gun on the wall in Act I, it must be fired in Act III.” To simply pull the rug out from under your readers feet, without solidifying evidence or enough passing references will leave them feeling unsatisfied, confused and in some ways cheated. A good twist uses forshadowing clues enough to wet the appetite and to key the readers in that there may be a surprise ending, but vague enough that many will miss its significance until the end.

Whilst placing your smoking gun in full view of your readers, ensure you also tuck away a few red herrings and some minor clues to the background or motivation of your characters. It’s a fine line in giving clues within your text but try not be too obvious. If readers can guess the outcome too soon they will tire easily of your story and you’ll not gain the outcome you were hoping for.

Although pacing is important and an individual matter, needing to be relevant to the style and genre of your story, refrain from revealing the twist too early in your story. Ensure that once it has been revealed that all pieces are tied up neatly.

Writing a good quality, interesting short story is a skill which many writers bypass in favour of telling their stories in a more verbose format. The art of the Twist in the Tale is both enjoyable for reader and writer to experience and one I hope to see a resurgence for in the near future.