Ends on November 30, 2017

Multiple price options

During the month of November, Black Lawrence Press authors Tracy DeBrincat, Jen Michalski, Adrian Van Young, Genanne Walsh, and Erica Wright are on board to critique your fiction. 

Adrian Van Young has elected to take novels, novellas, short story collections, and individual stories under his wing. The fees and parameters for page lengths for each of these categories is as follows:
  • Short stories, up to 20 pages in length, $45
  • Shot story collections, up to 180 pages in length, $350
  • Novellas, up to 100 pages in length, $250
  • Novels, up to 300 pages in length, $700

All manuscripts should be double spaced and formatted in twelve point font. 

The deadline to submit work for this consultation program is November 30. The consultants will complete their work and respond to all participants by December 31.

Space in this program is limited, so please be sure to submit your work soon! 

Adrian Van Young's Statement of Purpose

My philosophy of critique when it comes to fiction is to always approach the narrative on its own terms. Which is to say: I will never make the story into something it's not. My foremost goal as a critical reader of manuscript drafts is to help the story be the best kind of story it wants to be in the most efficient way possible. So, if you have written a piece of domestic realism with an epiphanal climax that tapers into falling action, I will not try and make it into a gothic historical story. What I *will* do is zero in on issues of characterization, atmosphere, genre, space-time issues, point of view and, particularly, structure and pacing (my specialties!) to facilitate what I believe to be the best mode of storytelling given the specific aims of the writer. I will also place a separate, heavy emphasis on plot and narrative entertainment which is what, after all, keeps a reader turning pages, something many writers sorely underestimate. But, a word to the wise: I am not into polish. I believe in radical revision, i.e. modifying and rearranging large sections of narrative, if called for. And I do this behind the logic that the more urgently and completely a manuscript is re-engineered over a series of drafts, the better it promises to be when the final one emerges.

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