The Kid Editor Crew, Part the Second: How it Works

Continuing with our discussion of kid beta-readers, we rejoin the Kid Editor Crew for Part the Second: How it Works.

Here’s how it works.

When I have a draft almost ready, I send out an email to the Kid Editors to find out what everybody’s schedules look like, and the Editors let me know if they’ve got busy times coming up (family trips, school projects, that kind of stuff), and we figure out when a good time for me to send them material might be. The Kid Editors know that I do not want to get them in trouble with their parents. Nor do I wish to get in trouble with their parents (all of whom, at this point, I consider friends as well).

When it’s time to send out reading material, I come up with a list of specific questions I would like answered. Sometimes I break these concerns into two parts; let’s call them things to keep in mind while reading and questions for afterward (the latter category might involve spoilers, or things I’m concerned might not actually be issues if I don’t point them out in advance and make a big deal out of them). I am learning to make these open-ended questions. I also always ask for the Kid Editors to make note of anything else that leaps out at them that I haven’t asked about, and to note any questions they have while reading, any characters or moments they particularly like, and any they particularly don’t.

The specific questions vary from manuscript to manuscript, but here are a few taken from the email I sent with the manuscript for The Broken Lands, earlier this year.

  • What are your thoughts on Sam? What are your thoughts on Jin? Nathan thinks I changed my mind midway through about who the main character was, and that I need to work on Sam more. I think he might be right, and I think I know what I’m going to do about it, but what do you think?
  • Does hearing Jack’s story from Ambrose rather than actually meeting him make him menacing enough? Do you have a sense of what it would mean for him to take the city of New York? Are you clear on what the stakes are? Does the concept of the pillars of the city make sense to you?
  • What do you think of Walker and Bones? Scary? Too scary? Not scary enough? What about Christophel and Bios and the daemons?
  • The love story–is it good, bad, stupid, annoying?
  • How is the pacing? Am I doing better with getting things moving quicker?
  • Having read this and The Boneshaker, do you understand how they are related? Any thoughts on what you now expect when we return to Natalie?

I want to make sure the specific concerns I have are addressed; but I also want to make sure that the readers know I honestly want to hear their thoughts, not just their responses to my questions.

Now, here I will pause to answer another frequently-asked question. It’s usually framed something like this: “How do you send the material?” I send it in Word, primarily because I’m too lazy to remember to convert it to a PDF, but when asked this question I actually think what people often really mean is, “You send your manuscripts to a bunch of kids? How do you know they aren’t emailing it off to all their friends? You don’t know where that manuscript goes! How can you possibly do that and not wake up in a cold sweat at night?”

I don’t wake up in a cold sweat at night a couple of reasons. I didn’t pick these four kids off the street at random. They are passionate readers, and passionate fans. They understand that what they are being asked to do is, essentially, take part in the secret, behind-the-scenes world of books-before-they’re-books. They know that’s something very special, and they understand it would be a tremendous breach of trust to share the manuscript with anyone else (however, talking about how awesome the book is with anyone and everyone is, of course, highly encouraged). But in the end, it is a leap of faith. Every writer has to decide for him or herself whether or not this is a leap he/she’s willing to take.

Some of the Kid Editors like to give me updates throughout the process. Others are fast readers and want to breeze through on their own. One pair of readers, twin girls, asked their father to read them the last draft out loud, because that’s how they read The Boneshaker (BONUS!! This parent was dragooned into being a Dad Editor). Eventually, though, I get messages from each reader as he or she finishes reading. These emails might contain answers to my questions, or just “I finished it” notes. In either case, the next step is to schedule a phone call.

I don’t ask for comments back in the manuscript itself, for two reasons. Firstly, I want them to be able to read the material in whatever manner works best for them. If they want to print it, that’s fine, but that can get expensive. If they want to read it on the family computer, that’s fine, too, but who knows if the computer can be spared for that. The second thing is, I find real-time discussion to be amazingly informative. Now, one of my readers, who I’ll introduce to you in a later post, is actually planning to become either an agent or an editor, so it’s looking like we may begin to look at options for in-manuscript critiques, too. Honestly, though, there’s a third reason for an actual conversation, which is simply that I like having the more personal contact of talking directly to them. It’s a treat for me. Actually talking to readers is rare, and special.

So, part the Third on the phone call, coming to you on Wednesday.

3 Comments

  1. Thanks, Kate! So very very helpful. Love the post-read phone call idea. And your list of questions is really helpful. How much time do you find readers need? Do you check in with them?

  2. Hmm. I’m not sure I know how to answer the question of how long they need. I usually send it off as soon as I think I have a readable draft, and then I’ve gotten responses as quickly as a couple weeks to a couple months after that. So far I haven’t had any situations come up where I needed to ask for a response within any specific time frame, and only once have I ever had to check in with a reader because I hadn’t heard from him by the time I really needed to start revising. Usually it’s the other way around and readers get back to me before I’ve cleared the post-draft dustbunnies out of my head, which of course is absolutely fine. And a great thing about having multiple kid editors is that I’m likely to get their responses staggered over a period of time.

    I guess the individual writer’s time frame and process would have a lot to do with how time is handled. After I finish a draft, I can usually count on a nice leisurely interim before either my agent or editor get to it, so I usually have plenty of time to give these kids to read.

    I do know that if I needed a fast read, I would make any kid editors who said their schedules were open and thought they could do it to meet my deadline PROMISE that family and school obligations come first and to let me know if their availabilities changed.

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