Manuscript Evaluation

What can I expect from a manuscript evaluation?

The focus of a manuscript evaluation is to empower the author to identify issues, trends, and inconsistencies in their writing and self-edit. During a manuscript evaluation, we will dig into pacing, plot, voice, story tense, and other key story elements to determine whether or not a work is cohesive, and let you know what is and isn’t working within the work as a whole. When complete, you will have a comprehensive evaluation report providing you direction and revision suggestions. The end result of manuscript evaluation is a muti-page report that will help you move forward with your manuscript, whether that be further revisions, querying, or submitting—a detailed and actionable report that helps you hone in on what is working in your manuscript, what isn’t, and what needs a little work.

The most advantageous time to request a manuscript evaluation is when you have taken your manuscript as far as you can—you don’t get much bang for your buck if you’re told about edits you’re already aware of. If you are in need of more direct assistance with your manuscript, a developmental edit might be more appropriate. And while manuscript evaluations and developmental edits are similar, those similarities end rather quickly.

Our manuscript evaluations will, as a baseline, provide you with general reader response notes, editorial feedback, a story-based breakdown of the manuscript with suggestions for revisions, and multi-page assessment on writing style (passive voice, tone, readability, complexity, etc.) with your target audience in mind.

What do manuscript evaluations look at?

This service focuses on a broad view of the following elements (this list is non-exhaustive):

Readability: This boils down to word choice and usage. Your editor will consider the following questions (non-exhaustive) while they are reviewing the manuscript:

• • Is the text easy to read and understand?
  • Is the plot coherent? Is the narrative theme strong?
  • Is there an overabundance of “-ly” adverbs? Overuse of adjectives?
  • How much of the narrative contains multiple comma-separated (and thus, convoluted) phrases in a sentence?
  • Are dialog taglines excessive?
  • Is passive voice balanced with active phrasing, or is passive voice overused?
  • Is dialog phrasing and language appropriate for the time period of the story?
  • Are the sentences and paragraphs structured in a way that allows the reader to become fully absorbed in the writing?
  • How many words are in each sentence, paragraph, chapter, and the manuscript as a whole?
  • Are there any chapters that are significantly shorter or longer than the rest?
  • Is sentence length varied within each paragraph?

Narrative Arc: This is also commonly called the “story arc,” and includes plot, characters, and settings, among other elements. Your editor will look at the structure and framework for the story, and though you don’t need to follow any specific style of story structure (and there are many), there is a general arc that (almost) every story progresses through. In the completed evaluation report, your editor will address the following:

• • Do the structure and framework of the story make sense?
  • Does the general arc of the story fit the ascribed genre?
  • Is the framework complete—exposition, rising action, climax, falling action, resolution?
  • Do the structure beats flow smoothly?
  • Is the sequence of events sound?
  • Are the chapters of a comfortable length?
    • This is not simply a wordcount concern. For example: is the end of a chapter stilted, or do the transitions falter?

Flow and Pacing: This is where the chapters come together. Flow is movement through the chapters, where the term “movement” applies to characters, scenes, time, space, and place. Pacing is the overall timing of those movements within and through each paragraph, chapter, and the narrative proper. This section will have your editor investigating:

• • Is character dialog and action grouped logically?
  • Do paragraph and chapter transitions flow easily with the narrative?
  • Are the chapters organized logically—whether chronologically or otherwise?
  • Is there enough tension throughout the story?
  • Does the tension build appropriately for the narrative arc or arcs through each chapter?
  • Does the tension build through and for each chapter’s event(s)?
  • Are there points where tension building gets interrupted because of a misplaced scene break or POV shift?
  • Is there an ebb and flow to the pacing of the narrative?
    • Unless there is a craft-related reason against it, there should be a sing-song like nature within the narrative, where the pacing slows or speeds up as it proceeds, like waves.
  • Does the pacing work for the story—is the story being told too quickly, or too slowly?

Plot: The sequence of events, and the cause and effect relationships between those events. Plot is (generally) chronological. Your editor will focus on the following elements in this area:

• • Is the opening scene gripping? Does it generate immediate intrigue?
  • Are the presented facts contradictory to the world, or do they assist in the reader’s immersion?
  • Does the plot follow genre conventions?
    • Or break those conventions in a logical manner?
  • Does the story introduce inconsistencies? If there are plot holes, how can they be remedied?
  • Are the plot(s) and story supported by the setting?

Characters: This section deals with the way each character interacts with both the world around them and the other characters in the story. Overall, character assessment focuses on how well they are developed, how effectively they contribute to the plot, and how engaging they are for the reader. In this area, your editor will focus on the following:

• • Are the major and minor characters fleshed out?
    • Do they have their own personalities, voices, thoughts, etc.? Do they have clear motivations, flaws, desires, and fears?
  • Do the characters act in a way that aligns with their background, personality, and the story’s context?
  • Does each character have their own internal struggles that inform their decisions and promote their growth (or incite their deterioration)?
    • Does their change feel forced or sudden, or is it well-paced?
  • Do character’s arcs tie up their narrative threads? Do they leave room for further development if necessary?
  • Does each character have their own manner of speaking, thinking, or behaving? Can they be identified without needing dialog tags or descriptors?
    • Quirks, habits, expressions, mannerisms, etc.
  • Do character inter-relationships have impact? Are they believable? Do they reveal character traits or move the plot forward?
  • Are characters other than the protagonist more than cut-outs or caricatures?
    • A great resource for antagonist complexity and depth is How to use Antagonists in Your Story: The Right Way and the Wrong Way by K.M. Weiland
  • Does the antagonist challenge the protagonist in meaningful ways? Are their interactions meaningful to the story?
  • Do the characters remain consistent in behavior and reaction throughout the story, or do they change without cause?
    • This can be a character trait/flaw, but it must be easily identifiable to the reader.
  • Do all the characters create reader connection, whether through empathy or fascination? 
    • While this is pertinent to all major, minor, and key characters, it is of paramount import for both the protagonist and the antagonist.
  • Do the major, minor, and key characters create emotional resonance with the reader? Do they make the reader care about them throughout the story?
    • Emotional resonance means more than just connection. Do the characters evoke strong emotions—positive or negative—enough so the reader cares about the story’s outcome?
  • Does the story reveal enough character backstory to understand their motivations without overwhelming the narrative?
  • Does the backstory of each character enhance that character’s depth without slowing the pacing or feeling like excessive exposition?

Additionally: These additional points will be assessed throughout the manuscript evaluation and addressed in the resulting report.

• • Does the manuscript engage with genre conventions effectively?
    • This is for the story as a whole, and not restrained to the plot alone as presented above.
  • Does the manuscript adhere to its desired target audience?
  • Is the manuscript positioned well for its target audience?