What is a Peer Review?

This is an exceptional service designed for your success and is one of the most valuable investments you’ll ever make toward your work.

The purpose of a peer review is to afford the author critical constructive feedback, allowing them to complete a brilliant piece of work that accomplishes the purpose for which it is truly written, speaking successfully to their target audience. This is achieved through a fine critiquing of their work on key literary points.

With that said, we’re going to discuss how the Peer Review process works, what to anticipate, and how to seek one properly.

Let’s unpack this.

The Active Search

Are you a writer or author? Do you have a book up your sleeve? Do you have a message? Have you begun to draft a work? Are you getting ready to publish? If you answered yes to any of these, what you need is a Peer Review. That means a peer in the industry provides you critical feedback on your work that affords you a greater chance of successful completion. Therefore, choosing your peer by whom your review is obtained, is of critical importance. Make sure to find the right person. I strongly suggest staying within the niche of your genre and making appropriate inquiries of successful writers, authors, and editors who perform this professional service in their spare time.

There are authors out there who genuinely enjoy helping other writers and authors succeed. They are very intentional about it, and it’s built into their profession. However, because of the nature of this specific service, time constraints are common road blocks to inquiries made. They may be very willing, but their plate is full. An excellent Peer Review can take weeks, even months to perform properly. Be aware of possible time constraints before you ever ask with respect to any deadlines you may have, and prepare accordingly.

Peer Reviews can be very expensive, costing upward of one-thousand dollars. They are priced by word count, page count, and the time spent, having fees similar to that of a professional editor. These are different than Literary Previews (Honored Opinions). Peer Reviews are often comprehensive, if not exhaustive. They can take into account the whole consummate project. Therefore, a Peer Review is something wisely invested in prior to publishing. You’ll want a purely objective third party to whom you can submit a publisher proof or final draft of your completed work. Writer’s conferences often network with writers, authors, editors, and literary agents who perform this service, or they can guide you toward the appropriate individual.

Peer Reviews are not always done prior to publishing, namely because few can afford them. Many successful books hit the press without one. Nor are they always necessary, especially if authors are prolific in their craft and their experience outweighs any benefit. They already have a thriving and invested network for any literary need that arises. But if you’re a novice, or perhaps this is your very first book, a Peer Review will be invaluable to your success, provided you choose the right person. Because, once you publish– there’s no going back. Making edits, lengthy revisions, or adding copy to the final draft just cannot be done. A professional opinion can offer you critical advice and feedback you don’t even know you’re missing. Experienced and/or professional writers, authors, and editors have eyes to see the holes, gaps, and areas that need further development. The fact of the matter is: We don’t know what we don’t know. This is where a Peer Review shines.

Is there an author you really love? Are you a die-hard fan? Is there a specific work or author you desire to emulate? Seek them out. Many have private websites or social media accounts. Shoot them a DM. If they can’t help you themselves, they may be able to point you in the right direction with someone in their network. Remember, they were once where you are today. If all else fails, ask them how they got where they are now (albeit that is a loaded question). Case and point: Glean all you can. It never hurts to ask, so do your due diligence to reach out to these individuals, even if they’re sitting in the proverbial “Ivory Tower” that is so unreachable. Hint: No one is truly unreachable today. And if by chance you do reach them and they respond to you, always extend your gratitude in the appropriate manner whether by DM, email, or a more formal thank you note. Acknowledge their time spent with you and their expertise afforded, irrespective of their final reply to your inquiry. Not only is this appropriate, but this is how you leave your impression, your mark, and is part of building a professional reputation within the industry. They won’t forget you so easily, and will take you more seriously. Should they ever meet you again, chances are they will remember you — and that memory will be a favorable one.

What You Can Expect From Your Investment

Your investment in a quality peer review should pay the highest dividends. As you will soon see and come to realize: Peer Reviews are an enormous effort and take a lot of time,  hence their cost. Peer Reviews that are performed professionally should protect your work and be strategic, hitting all the fine points an author would need, desire, or expect in a formal critique. Please be aware that authors (and editors) perform peer reviews in various ways. Not all are the same. If you can afford it, I humbly suggest you have more than one peer review performed for a good sampling of professional opinions. Two, or even three, is a good place to start.

Reviewers have their own individual processes by which they conduct Peer Reviews. To that extent, you will want to make sure you delineate your expectations prior to any agreement or hire. If they cannot meet them, you may want to politely seek another individual. Below, you’ll find the most common or traditional methods and means.

Your expectations, and the contractural agreement that follows, should include these basic services:

• Full Reading(s): A thorough objective reading of your work is performed, sometimes more than once. A full read is one that is word-for-word, line upon line, in consecutive order, including any references, footnotes, bibliography, etc. A proof-reading is not done for a Peer Review, whereby all lexical and grammatical errors are corrected. This would have already been performed by your Editor. Your editor/publisher should be able to extend a watermarked proof whereby all professional edits are completed by the time a Peer Review is performed. Trying to read a manuscript that is erroneous makes for a very unpleasant and difficult, even insufferable read. It’s torturous. Only final drafts should be submitted for a Peer Review. If you do not have a final draft, unfortunately you are not ready for the Peer Review process.

• Formal Written Critique: These can be a book in their own right. You will receive a formal, detailed, professionally written critique of your work that is carefully delineated and explained, with references by paragraph and page number. This written critique is comprehensive and can be quite lengthy depending on the length of your manuscript, your content, and their findings. Some are more generous and verbose than others. Regardless, the written critique should include key literary points (see below).

• Mock Up: You may receive a mock up with remarks, commentary, probing questions, and specific suggestions which are filed in a separate document. This is where you can go back and reference specific points of commentary. This mock up is precise and very detailed. If you’re not accustomed to referencing a literary mock up, it can be quite shocking to view. Literary commentary and suggestions are in red. This copy may be accompanied by a separate document clarifying these remarks as necessary, which are often numerated. Please be prepared to read carefully, and take the time necessary to consider all marks and remarks made. This mock up does not always render any changes to your actual work. Some will include only the most necessary edits. Some will render a full edit of a particular portion of text if absolutely necessary. Such edits are to be held as suggestions. Some Reviewers will waive any rights if you should choose to use them explicitly, which will be delineated in the contract.

• Full Edit: If a professional editor is performing your Peer Review, you may request to receive a full edited copy where specific changes are actually made for you. It will render the changes suggested so you can see them apart from any interruptive marks, remarks, and intrusive commentary, lending a clear unobstructed view of how those changes actually read once rendered to the page. How you choose to use this edited version is entirely at your discretion. Note: Although you may request it, Peer Reviews could exclude this edited version, as this could be construed as intellectual property for which the Reviewer does not want credited to your final authored work.

• Elaborative Discussion: Elaborative discussion should be included, and more than likely will follow the completion of the Peer Review. This may be as long as two or sometimes even three hours, depending upon the length of the manuscript. It may also be done in various appointments as the Reviewer progresses. I suggest you come well-prepared for this time. Take notes and make recordings. Where and how this discussion transpires is important, as you will want to see the person speaking with you to maximize the benefits of your interaction. Most commonly, this discussion happens only once, and is performed after you’ve fully read the Peer Review and highlighted areas you want to expound upon and further address. Therefore, it is entirely client-driven, giving you an opportunity to comment, ask questions, obtain clarity on any given points, talk about any changes you may want to consider, or critical feedback given.

The Elements of a Quality Peer Review

I. A valuable peer review answers fundamental questions such as:

• Is this something worthy of publication? Has this “story” been published before? If so, was it successful? Is it “recycled” or an original?
• What voice and style do I use for this story or genre? Is it appropriate?
• How should I format my work? Does it reflect the message? Does it hide it or dilute it?
• Who is my audience — really? And how do I reach them? What language do they generally speak?
• Is my writing engaging the reader or boring them?
• Do I insult my readers unknowingly?
• Am I redundant? Are there details that don’t ultimately serve the storyline which should be omitted?
• Do I exclude necessary details that could help propel the storyline? Are there unnecessary omissions?
• Are there portions that remain undeveloped?
• Am I a good steward of my reader’s imaginations? Am I taking them where I want them to go; where they want to go?
• Am I a good steward of my reader’s emotional investment? Have I cheated them? Or fulfilled them?
• What kind of quality do I exhibit in my writing? Do I possess the skill I need? Where are my weaknesses and strengths?
• And then there are more precise questions regarding the finer literary points, which are discussed below.

II. Peer reviews are different than endorsements in the following:

• Peer Reviews do not obligate an endorsement of the work, although it may be favorable.
• They are privately shared with the author. There are no public ratings.
• They can be performed upon the full body of work, or upon a sampling, which is determined by the Reviewer.
• Final drafts and proofs are most commonly required. Other drafts may be accepted. Rough drafts are inappropriate.
• Formal editing should be completed. If other drafts are accepted, basic editing is required (spelling, grammar, punctuation).
• Peer Reviews provide an objective and professional critiquing of the work on key literary points (see below).

III. Literary Points

This is where the bulk of a peer review affords the author very precise and constructive feedback. Literary artistry varies widely. Every author has a unique style. However, there are certain literary rules that should never be crossed or broken (although attempts have been made).

Regardless of genre or niche, your work can and should be thoroughly, critically, and honestly reviewed on the 12 following points:

1.) Storyline (genre specific): A great story may not always be well-written. Conversely, a poor story may be written brilliantly. Yet neither are worthy of the time their audience will invest to read the work. Both are a disservice to the reader and an injustice to the script. The goal is for an excellent story to be told well. It should earn its keep in your library, and the real estate in a reader’s heart and mind.

• Fascination and Intrigue: First, is the story unique or recycled? If it’s already been told, this script will need to offer a new perspective and really command reading. Something fresh and new is always welcome. Readers need a reason to keep reading. Regardless of the storyline, the elements of fascination and intrigue should be perpetual.

• Pace: Where is the author taking the reader? Is the story moving, and at what pace? The pace and cadence of the story should match the storyline. There’s nothing wrong with a slow story if it continually generates interest and is progressing. However, sometimes stories don’t really go anywhere. They can be stagnant.  If the story is fast-paced, adventuresome, and action-packed it can generate a more invested interest by virtue of the same. But don’t be fooled. These can fail to progress as well, leaving a rapt audience disappointed. Ultimately, the story needs to “arrive”. Anticipation of the climax cannot be wasted on an invested reader. The last thing a reader wants is to be jilted. Even if the story takes an unexpected turn, which can be exciting and very welcome, it needs to be progressing at an appropriate pace.

• Predictability: Predictability is a delicate matter. Too much, and they are bored. Too little, and they are dissatisfied. You may feel you can’t win on this one. Readers should have some measure of expectation that is fulfilled, with healthy doses of suspense and surprise. An expected end is not always the goal. Readers who can easily predict a story become bored and are more likely to abandon a book. The element of prediction should be adequately balanced or mixed with the key elements of intrigue, mystery, surprise, and sometimes even shock.

• Emotional Payload: Books take up valuable real estate in a reader’s mind, even after finishing the book — they’re thinking about it. It is a neurologically scientific fact: the more time you spend thinking about something, it eventually gains permanent residency in your soul. That is why some stories stay with us for life. They never get old. They still sell. So here it is: Is there an appropriate emotional payload or reward for the investment required in reading your story? Is there a moral or life lesson learned? Does the story offer utility? Can the reader assimilate it? Can the weight of the story carry that payload through to the end, and will it be justified? Readers ultimately want to be satisfied. They also like to be surprised. In contrast, they can also become emotionally exhausted, where interest typically wanes. They want the lure of desperate anticipation — so long as it’s fulfilled. What they don’t want is a book that sustains a level of emotion that becomes unreasonable, unbearable, unfulfilled, or even painful to endure. This can actually generate a sense of disgust or anger in a reader. People don’t just read with their minds: they read with their souls. Once an author understands this, their investment changes in how a story is ultimately written and the story portrayed.

• Development & Engagement: Is the story fully developed? Stories can remain unclear. Confusing. Arduous to understand and navigate. Characters can be almost invisible or so nuanced they’re difficult to know. A fully developed story will contain all the right elements and bring them together in a consummate way that fully engages the reader. That engagement is what will endure to the end.

• Neglect & Omissions: Not all omissions are bad. Some have purpose, such as with mysteries. Withholding information from your reader for a purpose is intelligent design. It generates a captive interest. But certain omissions are unwarranted and do not serve the storyline. They are an issue of neglect. These are voids that generate frustration, confusion, and dissatisfaction in a reader, serving no consummate purpose. Are there holes, gaps, or missing elements that could further develop the plot and ultimately grant the reader greater satisfaction? If so, they need to be addressed. Authors can sometimes get lazy in fleshing out areas that are difficult to write about, require more research, or take more time. However, a good story well-written will never leave the reader in a place of frustration by virtue of omissions.

• Substance & Delivery: Does it deliver? Are there secrets? Promises? Anticipations? Is there enough substance to even finish the book? What does the delivery look like? Because, you want your readers to finish. They should be unable to put the book down. Every author wants to write a page-turner. But there is a spectrum. Even a great read affords a reader some rest. Excellent reads are often (not always) page-turners. Page-turners employ the proper hooks and leads, mystery and intrigue, in a very strategic and balanced way, and in the appropriate measure to capture the reader, arresting them until the end. They simply can’t stop reading — even if they want or need to do so. But a great read can still be a page-turner, while affording points of rest. A skilled author should employ both. This type of delivery generates a flow for the reader that is much more sustainable.

• Strategy: Where are the leads? Where are the hooks? How are they employed? Are they timely? Did you unwittingly give your story away in the title, or the first chapter? There should be twists and turns. Unexpected charms. A story should continually evolve, soliciting interest in intrigue; spark and fascination. There are peaks, valleys, climactic moments, horrific blows, pinnacles of importance — all which are strategically placed. The strategy of a skilled author can be something very nuanced. It’s not always readily recognized. If each chapter plods along in the same rhythm, your strategy is poor at best. But if you feel like you’re on a roller coaster, strategy is definitely keen. Your Reviewer will be able to tell the difference.

• Balance & Tension: What is the motivation and intent? It matters. Is the story balanced with protagonists and antagonists? Good and evil? Victory and defeat? Whatever the core motive– there should be an equalizer. Most of this is experienced through character portrayal; not mere circumstance. Therefore, it is essential that characters should be as human as possible. They should be clearly portrayed and well-understood (unless the point is their being elusive). Human beings are complex creatures. Knowing a bit about sociology, psychology, and the like is actually quite helpful for authors. Readers should be able to readily identify with the characters. This can only happen when they are properly introduced and fully fleshed out. Characters should be distinct, having bodies, souls, minds, hearts, wills, desires, personalities, temperaments, and character traits unique to them. This is not easy, but necessary. A skilled author will know how to develop their characters in ways that clearly set them apart, eliminating any possible confusion in the reader, and creating the means by which human connection is fully enabled.

2.) Linguistic Artistry & Imagination: The “color” in which an author writes is afforded in their artful use of words (idioms, metaphors, poetry, adjectives, adverbs, etc.), much like a painting. Linguistic artistry allows the reader to visualize the story. Affording color is not always easy, and believe it or not, a story can be overly embellished to the degree of distraction. Sometimes less is more. Stories can be either very colorful, or they fall flat, meaning you merely see the black and white on the page.

3.) Style: And author’s style can change, depending on the story, its era of time, and the culture surrounding it. For example, is the story sprawling, embellished, poetic, clipped, over-simplified, or concrete? Perhaps there is a blend of styles.

4.) Syntax: Authors can sometimes use words inappropriately in an effort to be “colorful”. However, that does not afford color. It just causes misunderstandings and can breed confusion. A good linguistic artist will use words appropriately.

5.) Structure: The chapter length, sentence structure, paragraph length, and divisions of thought, should all be fitting. If every chapter is long, that is exhausting for any reader. Chapters may need to be divided when they are too long. Paragraphs may be awkwardly broken into segments that do not flow. Proper structure renders ease of thought. The reader progresses easily and even naturally without any glitches.

6.) Language: The native tongue of the text can actually be quite complex. The use of cultural dialects, sub-cultural accents, urban language, slang, and the era of time in which a particular language is found, is all accurately displayed in the transcription and/or translation, and the phonetic spelling. Individual characters may very well have their own voice, requiring a language to be rendered to the reader in a manner that is accurately portrayed.

7.) Voice: First, second, or third person, or perhaps a blend. Complex and layered stories that transcend time may switch voices, moving from past to present, or even reveal futuristic happenings. With regard to voice, the cadence of a story can change. For example, when speaking in past tense, those circumstances have already happened. They are therefore fully known. Details may be much richer. Present tense carries a weight that is palpable and increases anticipation because no one yet knows what will happen, including the narrative voice, especially if it is in first person. Third person narratives have a breadth and depth others do not, because the voice is the author, who is essentially omnipotent. Therefore, any details shared are at their will and pleasure. They can aptly beckon, tease, starve, or indulge their readers. A good author will do it all.

8.) Vocabulary: Vocabulary ultimately translates to the book’s reading level. An author’s use of words may convey interest, complexity, and depth. Or they may be very mundane and simplified, conveying boredom and monotony. The greater the linguistic artistry: the more complex the vocabulary. The more complex the vocabulary: the higher the reading level. Stories rendered at a low reading level lack the ability to engage mature readers.

9.) Format: The font, layout, design, margins, numeration, and the manner in which the prose or poetry is scripted; the visual appeal a reader beholds, the ease of navigation within the manuscript. All of these contribute to the quality of the read. If the author has a proof from the editor or publisher, these will be easily seen. Other drafts may or may not contain these formatted elements.

10.) Flow: Individual or comprehensive segments of the book (if any), it’s individual parts (ie. Part I, II, III, etc.), how and when chapters lead, break, stop, or end; and how the content or story progresses ultimately determines when a reader turns a page, stops reading, or puts a book down. If the flow is connected properly, despite any chapters or respective parts, the reader’s engagement will be sustained (almost effortlessly) and they won’t be inclined to stop reading.

11.) Readability: This takes into account all virtues of the consummate manuscript together, ultimately conveying readability and the likelihood of a reader finishing the book.

12.) Capture (First Impression) and Fulfillment: How does the book capture the reader? What grabs? What is it promising? This is the initial impression and expectation a reader has upon seeing, opening, or reading a book’s table of contents, introduction, preface, synopsis, endorsements, or jacket. The old adage, “never judge a book by its cover” does not apply here. Will that reader’s first impression ultimately be satisfied in the end? Will it be let down or disappointed? Or better yet — will the book surpass the reader’s expectations? If the author has captured a reader — they will hopefully buy and read the book (remember, many books are bought yet never read). If they read the book, the author’s goal is always to surpass the reader’s expectations. The book’s first impression, its first-glance marketability, its immediate content capture — should never — absolutely never be disappointing. It needs to deliver precisely what it offers OR succeed it. Authors who promise and don’t deliver are dubbed as “literary crooks”. I’ve placed this last, because you’ll never know how to grade a book on ‘capture and fulfillment’ until you’ve finished the book. A fulfilled and satisfied reader is a happy one who comes back for more.

With that said, get ready to see RED. Your Reviewer should be granting you a thoughtful and conclusive written critique of your work on most (if not all) the aforementioned literary points. Be prepared. I’ve seen people so crushed, they cry. Torn apart. I’ve been there. But these are tears worth their salt. They water seed that is going to bear a lot of worthwhile fruit. It’s not easy being critiqued by a professional that has years of experience and seniority in the industry. You can feel pretty small. But it’s the only sure way to grow in your craft. Boldly step into the company of giants. Listen, learn, and glean everything you can. Even when it’s painful be extraordinarily grateful. You will know when someone is tearing you down versus giving you constructive criticism. Their intent will be readily apparent. Again, we don’t know what we don’t know. This experience is sure to afford you immeasurable value, extending far beyond this manuscript as you develop in your literary journey. Rest assured, a good Reviewer will also balance the critique with points where you’ve done well, outperformed the norm, excelled, or even reached heights others have not, revealing your artistic abilities and areas where you really shine. Compliments can be very much in order.

Typical Contractural Requirements

DISCLAIMER:
The following is not intended to provide legal counsel. I am not a lawyer or attorney.
When seeking to draft a bilateral contractural agreement with anyone,
please do so wisely with the help of an attorney or lawyer.

1.) Bilateral Contract: Your unpublished intellectual property should never exchange hands freely without a written agreement with those whom you allow to view or obtain it. The opportunity you’re granting anyone to serve you in reviewing your work is a solemn trust. Your creative work is incredibly valuable. Whenever you are granting someone access to your intellectual property, regardless of the manner of exchange, do your due diligence in protecting it. A bilateral contractural agreement will offer that security to you and the Reviewer. Terms of the contract will be issued by the Reviewer. Those terms should fully protect your intellectual property as copyrighted content. This contract will not only provide proof of their services to you, but it will also negotiate the terms of what they are allowed to view (in part or whole), the access granted, the designated purpose, and any permissions for editing. The contract will also include any payment options invoiced. Payment options should be discussed prior to signing. Upon payment the contract should become active.

2.) Exchange & Correspondence: Your manuscript should be submitted via encryption. A proof is preferred. However, if a final draft is not available, OR if the Reviewer is only critiquing a portion of your work, a digital unlocked document can be transmitted via email. It is recommended that you keep all correspondence within one email thread designated solely for this project. Do not mail a hard manuscript. Do not send via Google Docs, a social media platform, via cloud service, or unsecured attachment. No handwritten documents should be exchanged. If you so choose ask to send a document via Docusign or other secured third-party portal which requires verification via email upon receipt.

3.) Deadline: Peer Reviews are lengthy. I would allow three months. The Reviewer may require more. If you have a deadline you’ll need to make that known in the contract. Terms may be negotiated if time allows.

4.) Sample Chapters: In the event the Reviewer is critiquing a sample, the minimum is usually three chapters. These could be consecutive, OR the first, middle, and last. Often they may come from the heart of the story because this best reflects the storyline and subject matter. I suggest consecutive chapters, providing continuity, if you have a choice. Therefore, choose wisely. Your Reviewer may offer options with respect to length based on word or page count.

5.) Drafting: All spelling, grammar, and punctuation should be fully edited. Rough drafts are often prohibitive. They do not in any way reflect your ability as an author. Any successive draft, up to the final draft, may be acceptable, depending upon your Reviewer and the stage of your writing. This can make a difference in how your work is ultimately critiqued.

6.) Formatting: A final proof is always the best option. If that is not yet possible, the sample copy (manuscript) should be double-spaced with two-inch margins, allowing for ample literary remarks, comments, and editorial suggestions. With that said, you may need to prepare an exclusive document designed solely for your Peer Review.

7.) Pagination: Make sure all pages are numbered at the bottom in the following format: (Page 1 of ___).

8.) Watermarking: Your digital document should readily reflect three things:

(1) the manner in which it should be handled
(2) its ownership
(3) its level of security

Your name and the title of your work should be on every page header including the word: “ORIGINAL” or  “COPY”, whichever is preferred. I suggest you use a watermark of your choosing to protect your copyrighted work. Terms such as “copyrighted”, “confidential”, or “original” are all appropriate examples you may want to consider. You may also use your logo, signature, or other trademark.

Conclusion

If you can afford a Peer Review, I earnestly suggest you seek a worthy individual. Albeit expensive, this could be one of the best investments made in your final work. Make sure this individual is in your niche or genre. Make sure they are professional and can meet your expectations. Just because they are willing, does not mean they will fully read, or perform a critique in the manner you desire or need.

I have outlined the best case scenario for you, so you know precisely what to ask for, how to prepare, and what to expect. It is my prayer and hope that you find that perfect person who can assist you in your literary journey, providing opportunity for growth, networking, and ultimate success — long after you publish.

Cheers & Shalom,

Image Credit: suju/2083 images | Pixabay

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