The Cooling Off Period: Handling Criticism Effectively

Photo from Dodog

My dad had a favorite saying that I'm sure most parents have in their arsenal: "Think before you speak or act." I say the same thing to my own children. I also say it to myself--every single time I receive a critique or editorial letter.

Writing is personal, but if you are pursuing publication, it's important to realize it is also a profession. Sometimes, pushing aside feelings is essential in order to succeed.

You've labored on a project that obviously is dear to your heart or you wouldn't have invested the time and effort to write it. Then, you turn it over to someone who doesn't hold it dear. Sometimes they don't even like it--heck, sometimes they hate it. The thing I always keep in mind is that just because someone doesn't like what I have written, it doesn't mean they don't like me. It's totally separate. Maintaining this separation is difficult sometimes.

Here's my strategy for handling critique:

1. Read the critique notes (or editorial letter) carefully without responding at first. Send a brief thank you note to let them know you received their suggestions. Nothing specific. Same with oral critique in a live critique group. Listen. Really listen. Say nothing. When you've heard them out, thank them for their suggestions. If you are unclear on a point they made, ask questions without any explanations or defensiveness.

Do not explain why they didn't like it or "get" it. If they were confused, perhaps it is a valid point. As a writer, I know exactly what I mean. If the reader doesn't get it, it is probably my fault.

2.  Give the information time to cure and your emotions time to cool down. This is the most important part. When I receive revision suggestions from my critique partners, agent, or editors, I read them several times and then set them aside for 24-72 hours before I respond or begin revising. (Of course, I send an immediate "Got it. Thanks!" but nothing else.)

This curing time enables me to recover from my initial reaction, which is always more dramatic than necessary. After one to three days, I've had time to process the suggestions logically, rather than react emotionally.

My editor for Shattered Souls sends hard copy editorial letters. She once told me that she has a client who puts the letter in the freezer after reading it so that it isn't sitting out. After a few days, she pulls it out of the freezer and is ready to go. Both letter and author have had a "cool down" period (the letter, literally).

I don't have to lock my revision letters out of view, but I do keep myself from responding or making changes right away.

3.  Consider the source.  Enough said, probably, but I'll elaborate. Who gave you the critique? Is this the first time you have received suggestions from this person? What is his or her professional writing status: new writer, established writer, published author, published author in your genre, agent, editor?  The way you handle your response should be the same, regardless (calm, genuine gratitude), but the weight you give to the suggestions will be different.

4.  Decide what fits your vision for the project and what is necessary to meet your professional goals. You don't have to make every change, even for your publisher, but your decisions should be logic-based and not emotion-based. Once again, as a writer, it's hard to step back and be objective about our "babies." I've made quite a few changes at my editor's request that I didn't object to, but didn't wholeheartedly buy into either.  After making the changes, I realized how brilliant the suggestions were, so for me, there is a bit of a cool off even after the changes are made.

5.  After cooling down and making the changes that resonate with you, send another genuine thank you. You don't need to explain why you didn't make all of the changes (Unless it is your agent or editor, then sometimes it's necessary).  You don't need to discuss the changes in-depth. I try to thank critique partners and beta readers for specific suggestions I found most helpful. Personalizing it makes the person who took the time to read and remark on my project feel the time spent on me wasn't misplaced or unappreciated.

I'm sure there are folks who can jump right in without a negative reaction to criticism, but most writers aren't like that. Those words in that manuscript came from deep inside and are personal. So, give yourself a cool down period. Rushing into revisions or reacting immediately when you feel defensive will not only make your revisions less effective, it will potentially alienate you from the very people trying to help you become a better writer.

Do you have any tricks or tips for keeping it cool? Share them in the comments. 

Wishing everyone a fabulous week.

Mary

Mary Lindsey (Marissa Clarke) is a RITA® nominated, bestselling author of novels for adults and teens. She lives on an island in the middle of a river. Seriously, she does. When not writing, she wrangles her rowdy pack of three teens, husband, and a Cairn Terrier named Annabel, who rules the house (and Mary's heart) with an iron paw. She's a founding member of the QueryTracker Blog and is represented by Kevan Lyon of the Marsal Lyon Literary Agency.

For more info on her books or to connect on social media:
Facebook | Twitter | Instagram | Pinterest | Teen Website | Adult Website

The Art of Giving and Accepting Critiques

"Be kind and considerate with your criticism. It's just as hard to write a bad book as it is to write a good book." 

Writers' stories are essentially their children. Sometimes they are incredibly proud of their offspring, other times they find them cringeworthy, and yet, when someone else dares to point out their flaws, the author/parent feels compelled to leap to their defense.  It's hard not to take it personally when someone doesn't "get" your protagonist, or reacts with a "meh" to a scene you agonized over for hours. Giving and accepting critical opinions is a tool that should be in every writers' arsenal.

There is a point in your own writing career where you become more comfortable offering advice to people just starting their publishing journey. Maybe you've obtained an agent, or a publishing contract, or have found an indie niche. You realize that you do have answers to many newbie questions (never send attachments with a query- don't nudge after a week, etc.)  The writing community in general is supportive and kind. Writers understand the special pain of pouring your heart and soul into something only to have it ridiculed or dismissed. Yet, sometimes a writer who is just starting out is making some basic, rookie mistakes, or perhaps the writing is just... bad. It's easy to tap out an anonymous one-star review with snarky gifs. It's quite another to offer constructive comments with suggestions for improvement. So, if a writer asks for input, remember this:

Be Nice. You serve no purpose being snide, condescending or rude. And don't kid yourself that you're just a "straight shooter" who is "blunt, but fair" or whatever phrase people use to justify being a jerk. It's a tough enough business when writers get form rejections on full requests from unpaid interns and twitter hashtags exist only to ridicule unpublished writers. Don't contribute to an already demoralizing process by picking on the new kid.

Be Specific. Maybe the story in question is full of Mary Sues, assorted tropes, hackneyed dialogue or stereotypes. It's easy to just say, "This is a cliche-ridden story with boring characters and no plot."  But the writer can only improve if he understands the root problem.  Identify the plot hole, the character who needs fleshing out, or the well-worn plot device that holds back the story from reaching its full potential. If it can be identified, it can be fixed.

But be nice.

Find Something Positive to Say. Yes, even if it's just, "Hey, you wrote a book! Congratulations on that achievement." Often, an otherwise solid theme (jealousy, love, loss) is simply not well-executed. But acknowledge if the author has the bones of a good story, or if she used a particularly lovely phrase or had a piece of dialogue that made you laugh. 

Offer Advice on How to Improve. "Write it better" is not advice. Remember all those form rejections you got that said something like, "I just didn't fall in love with the story" or "Ultimately, I didn't engage with the characters"? Give the author something to work on. "If you're writing historical fiction, the characters shouldn't speak like 1980's valley girls." That's advice. And it's direct, but polite.

And on the flip side, you've asked for a critique and now you've got it. And it stings. A lot. What to do? Here's your checklist.

Put It Aside For At Least 24 Hours. Early on in my career, a mentor told me that whenever he was tempted to write a nasty letter, he'd write it, put it in the drawer overnight, and if he was still mad the next morning, he'd consider sending it. Alas, the advent of email and the instant gratification of typing whatever pops into your head makes this system a bit of a dinosaur.  Let the initial hurt subside a bit so you can look at the critique more objectively.

Don't Tell The Reviewer She Is Wrong. Don't bother arguing, complaining or justifying. You asked for feedback and you got it. Thank the person for their time and move on.

Be Nice.

Take Off Your Writer Hat and Put On Your Reader Hat. These characters are your babies. You know them. You know why you made them, and how they evolved as you wrote the story. But a reader has no skin in your game. He either likes the story, doesn't like it, or is a bit indifferent.  You don't love everything you read. It doesn't mean the writer didn't agonize over every single word.

Make a List of The Most Critical Comments. Assuming they are constructive (see above) ponder them carefully. Have you fallen into a writing cliche? There is a fine line between an archetype and a trope. You might not decide to gut and rewrite the whole manuscript, but you may find that you do need to make some changes.

Categorize The Problem Areas: Characters, Plot, Conflict and Writing. You can fix things like using crutch words or having overly flowery descriptions. You can tighten up plot holes or issues with world-building. You can round out flat characters. You can raise the stakes or make them clearer. But you can't write someone else's book, SO,

Go With Your Gut. This is your story. And, as we so often hear, this is a subjective business. You have one person's opinion. Do with it, or not, as you wish. We can all think of a bestseller that we hated. Am I wrong to think Pride and Prejudice is overrated? Maybe. But I stand by my opinion. And at the end of the day, it's your name on the cover so write the book you want.

But remember. Be Nice.

Kim English - is the author of the Coriander Jones series and the award winning picture book 'A Home for Kayla.' Her latest picture book, 'Rolly and Mac' will be released in 2016. Her website is Kim-English.com. She is represented by Gina Panettieri.

Why You Should Critique Other People's Queries

A Publishing Nerd is Born

I learned to be an editor by accident.

As a 19 year-old college student, I already knew that the world of publishing called to me. So the fact that students at my college wrote and edited an annual edition of The Insider’s Guide to Colleges for St. Martin’s press was a boon to me. I needed that on my resume.

Strangely, proto publishing nerds are not thick on the ground even at Yale. So the fact that I’d turned in five or six three-page college write-ups on time attracted attention. “Hey, you! Quiet girl in the corner—do you want to be an editor?”

Me?

I was wise enough to say yes, and my editing career was born. But I came to the task with a certain amount of trepidation. As I eyed that first stack of 800 word articles, I had no idea what it was I brought to the table. After all, the writer of each one had all the information, right? What use would it be to stick my nose in?

But then I began to read them. And before half an hour had passed, I was rearranging sentences and scribbling notes, asking for clarity. At least 50% of an editor’s job was simply to not be the person who wrote the thing. The job was to be unfamiliar enough with the material to know when things weren’t right. To not be blinded by my own intentions.

Fast forward *mumble mumble* years, and I found myself haunting the hallways of the Query Tracker Forum. At first, I critiqued queries on the board because it seemed like the helpful thing to do. Since I received assistance there, it seemed only right to chime in. But the critiquing I did there quickly began to strengthen my own query efforts. Any reader of the query critique threads will recognize familiar mistakes more easily than someone who labors only on her own work.

Whenever you step in, attempting to smooth out someone’s sentence—rescuing that sparkly description from drowning in adverbs, or untangling modifiers—you’re editing for yourself, too. It is the rare query which contains only mistakes I’m past making for myself. There’s always something to learn.

Last year, I heard a New Yorker Out Loud podcast on the subject of Twitter, in which the editors stunned me with their utter lack at horror over the idea of spending an afternoon trying to write the perfect tweet. Really? These masters of the long form would stoop so low? “It’s time in the batting cage,” one of them rationalized. And that’s what query critiquing can do for us all. Genre be damned.

And after you’ve read your 100th would-be query, a second layer of utility begins to form alongside all your new editing skills. By reading those threads, you’re putting yourself in the agent’s chair. Is this the fifth query you’ve seen which begins: “MC wants nothing more from summer vacation than a deep tan and an invitation to the beach jam, but…?”  Note to self! That opener, while perfectly sound, has been around the block a few times. I’d better not employ it myself. You will also start to spot common query ills—the dropping of too many character names, the compression of too much plot, the overly chatty bio ‘graf. Even if you’ve read up from excellent sources on the “Glamour Don’ts” of query writing, witnessing them in real time is starlingly educational.

Lastly, the art of critique is, in and of itself, an essential writerly skill. I have learned to start every critique by saying one positive thing. Even if the query needs buckets of work (and even if you suspect the manuscript does, too) there is always something encouraging to say.

At my children's school, the first grade teacher closes the day with a verse that the children stand at their desks to recite. The last two lines are keepers: "Every kind word makes me stronger. Every kind deed sets me free." What's true on the playground also works in queryland. Good luck out there!

Sarah Pinneo  is a novelist, food writer and book publicity specialist. Her most recent book is Julia’s Child. Follow her on twitter at @SarahPinneo.

Fifty Shades of Editing

by Stina Lindenblatt @StinaLL

 ©Stina Lindenblatt

Regardless of whether you’re pursuing traditional or self publishing, your book needs to be well edited. If it isn’t, agents and editors will reject it. If you self publish and the story and writing is weak, your writing career is pretty much doomed, unless you use a pen name for your next book. With so many options out there for readers, it’s tough to get a second chance if you blow the first one.

The point of this post is not to provide you with advice on how to edit your book after the first draft. Like everything else in this industry, it’s subjective. What works for one person might not work for someone else. A writer who plots and figures out characterizations first will approach his second draft differently than a writer who jumped straight into writing the first draft without much planning. Instead, I’m focusing on the edits you need to consider from an outside perspective. In all cases, you want to make sure you give the individual the best version of the story to date. That means, no sending them your first draft. You just waste everyone’s time when you do that.

THE FREEBIES

This group of individuals is invaluable. They are your first line of editing and they are free. Well, almost free. When someone offers to give you feedback on your project, remember it’s not a one-way street. There is nothing worse than giving feedback on someone’s 130,000-word manuscript and they do not reciprocate. This group includes critique partners and beta readers. What it doesn’t include is your mom, unless your mom can be critical and give valuable feedback. A lot can’t. On the other hand, if your mom is overcritical about everything in your life, you might want to skip on her feedback. Same deal with your mother-in-law.

Critique Partners and Critique Groups

With these individuals, you usually send your novel to them in chunks. Some groups will meet once a month and exchange chapters. They focus on the here and now, and chances are they won’t remember what they read last time. Because of this, they tend not to see the big picture. They point out places where you could rewrite a sentence so that it’s no longer confusing, and point out things that don’t make sense story wise. These individuals tend to be writers. 

Beta Readers

Unlike the critique partner, beta readers look at the big picture. They will point out problems with your plot and when your characterizations could be stronger (critique partners can do this, too). Some give line edits, but it’s not part of the job description. Beta readers can be writers or avid readers. 

PROFESSIONAL EDITORS

Professional editors tend to have a higher skill set compared to our beta readers and critique partners. But remember, not all are created equal. This depends on numerous factors, including their editing education and experience. An editor who works for Simon & Schuster, for example, will have a greater skill level compared to an author of several short stories who decided to make some extra cash on the side. 

Agents and Editors (with a publisher)

These are individuals are “free,” but they need to love your project and see a market for it before they will offer you a contract. Your book might be great, but if there’s no market for it (in their eyes), agents and editors will pass on your project. Are they right? Not necessarily. But if you’re planning to go the traditional route, you need to impress them first. 

Freelance Editors

These individuals are the ones you hire if you plan to self publish a quality book. This is a step you don’t want to skip. Even if you’re planning to pursue traditional publishing, it doesn’t hurt to have professional editing done before you query. In today’s competitive slush piles, this step might give you the extra edge you need to land a contract. I know one author who does this. The result is she has less editing to do with her publisher, which saves everyone time.

LEVELS OF EDITING

No matter which route you go, there are three levels of editing you need to consider. With traditional publishing, all three are typically done. 

Developmental/Structural Edits

These edits involve the big ticket items, such as plot, characterization, overall pacing, setting, story structure, etc. When you hear an author mention how they received fifteen pages from their editor, this is what they are referring to.

Line Edits

After the big ticket items come line edits. This is where the editor will make comments in your manuscript at the sentence level. She will point out sentences that don’t flow well and make suggestions. Remember, they are just that: suggestions. Be careful you don’t end up messing with your voice (unless you want to). 

Copy Edits

This level of editing is no less important that the others. A copy editor will point out typos, missing words, and inconsistencies. A good one will notice that your main character has blue eyes on page 30 and brown eyes on page 99. That is their job. I recommend you don’t skip on this one. A book filled with typos screams unprofessional. It also screams, “Don’t read my next book!”

The most important thing to remember is that the people giving you feedback need to share your vision for your book. If they don’t, you will end up ripping your hair out in frustration. When looking for the right individuals, see if you can get feedback on a few pages first. That way you can see if you are a good mix.

Have you used a professional editor? How many critique partners and beta readers do you tend to use for each project?

What SYTYCD Taught Me About Writing

I’m going share a secret. I’m a huge fan of So You Think You Can Dance Canada. Here are a few tips I gained from watching it that can benefit writers.

Don’t be afraid to mix up genres and try new ones:

During his audition, Denys Drozdyuk (season three) wowed the judges by not only performing the Paso Doble on his own (something unheard of since it’s a partner dance), he combined it with a touch of contemporary dance. The result landed him a spot in the top twenty-two. He went on to win the competition.

All twenty-two dancers selected for the show had to learn and perform dance styles they had never studied before (contemporary, jazz, ballroom, hip hop, Latin dance). The dancers only had a few days to learn the routine, yet all did an amazing job.

As writers, we should push ourselves to try (or at least read) different genres, and see how aspects of them might combine to produce something more exciting. You might even develop a new trend. Isn’t that what we all want? To be on top of a trend instead of racing behind it (the latter which is never recommended).

Warning: Please try to limit the number of genres in one story. A paranormal thriller mystery romance literary novel will scare off most agents and editors. There is such thing as overkill.

Bring out the emotion:

At the end of each performance, the dance partners listened—sweat dripping down their faces, hearts pounding from the gruelling routine and nerves—as the judges critique the dance. Often the dancers were told to dig deep and bring out the raw emotion, which will take them to the next level. Those who managed to do that went far in the competition. There were a few routines that left the judges in tears, because of the emotional connection they felt with the dancer and the performance.

Same deal with writers. In order for the reader to connect with our characters, we need to dig deep and bring our characters’ emotions to life on the page. It’s not easy at times, but it’s essential if we want to get to the next level: gaining an agent or landing a book contract.

You owned that dance:

Each dancer had his or her own style (e.g. wild, kooky, etc).  The successful dancers applied it to their routines and the judges took notice. This style made those dancers memorable. Very important during the competition. 

Okay, writers. I have only one word for you: Voice!

Don’t give up because you were rejected:

Tara-Jean Popowich auditioned for the first season of the show but never made it into the top twenty. She went home and did everything she could to become a better dancer.  Her hard work and determination paid off. Not only did she make it into the show for season two, she won the position of Canada’s favorite dancer.

Like dancers, writers have to deal with rejections. It’s part of the package. But instead of bemoaning the unfairness of it all, take the rejection and use it to make your writing and/or story better. Maybe you need a critique group (or a different one). Maybe you need to enrol in a writing class to hone your skill. Do whatever it takes to push your writing to the next level.

Embrace the critique:

Winner Denys Drozdyuk (season three) couldn’t have said it better on the final show when he told the judges that praise is great, but the critiques were what had made him a better dancer. What more can I say?

It was amazing watching the show and seeing how much dance has in common with writing fiction. Both require determination, passion, skill, and the ability to tell a story. Do you have all of these requirements? Is there something you need to work on to turn your rejections into a reason to celebrate?

Stina Lindenblatt writes young adult novels. In her spare time, she’s a photographer and blogging addict, and can be found hanging out on her blog, Seeing Creative.  

Cool Down Time: Handling Criticism Effectively

My dad had a favorite saying that I'm sure most parents have in their arsenal: "Think before you speak or act." I say the same thing to my own children. I also say it to myself-- every single time I receive a critique of my writing.

Writing is personal, but if you are pursuing publication, it's important to realize it is also a professional craft and a commercial endeavor. Sometimes, pushing aside feelings is essential in order to succeed.

You've labored on a project that obviously is dear to your heart or you would not have invested the time and effort to write it. Then, you turn it over to someone who does not hold it dear. Sometimes they don't even like it. The thing I always keep in mind is that just because someone doesn't like what I have written, it doesn't mean they don't like me. It is totally separate. Maintaining this separation is difficult for some writers.

Here is my strategy for handling critique.

1. Read the critique notes carefully without responding at first. Send a brief thank you note to let them know you received their suggestions. Nothing specific. Same with oral critique in a live critique group. Listen. Really listen. Say nothing. When you have heard them out, thank them for their suggestions. If you are unclear on a point they made, ask questions without any explanations or defensiveness.

Do not explain why they didn't like it or "get" it. If they were confused, perhaps it is a valid point. As a writer, I know exactly what I mean. If the reader doesn't get it, it is probably my fault.

2.  Give the information time to cure and your emotions time to cool down. This is the most important part. When I receive revision suggestions from my critique partners, agent, or editors, I read them several times and then set them aside for at least 72 hours before I respond or begin revising. (Of course, I send an immediate "Got it. Thanks!" but nothing else.)

This curing time enables me to recover from my initial reaction, which is always more dramatic than necessary. After 72 hours, I've had time to process the suggestions logically, rather than react emotionally.

My editor for Shattered Souls said that she has a client who puts the letter in the freezer after reading it so that it isn't sitting out. After a few days, she pulls it out of the freezer and is ready to go. Both letter and author have had a "cool down" period (the letter, literally).

I don't have to lock my revision letters out of view, but I do keep myself from responding or making changes right away.

3.  Consider the source.  Enough said, probably, but I'll elaborate. Who gave you the critique? Is this the first time you have received suggestions from this person? What is his or her professional writing status: new writer, established writer, published author, published author in your genre, agent, editor?  The way you handle your response should be the same, regardless (calm, genuine gratitude), but the weight you give to the suggestions will be different.

4.  Decide what fits your vision for the project and what is necessary to meet your professional goals. You don't have to make every change, even for your publisher, but your decisions should be logic-based and not emotion-based. Once again, as a writer, it's hard to step back sometimes and be objective about our "babies." I've made quite a few changes at my editor's request that I didn't object to, but didn't wholeheartedly buy into either.  After making the changes, I realized how brilliant the suggestions were--so for me, there is a bit of a cool off even after the changes are made.

5.  After cooling down and making the changes that resonate with you, send another genuine thank you. You don't need to explain why you didn't make all of the changes (Unless it is your agent or editor, then sometimes it's necessary).  You don't need to discuss the changes in-depth. I try to thank critique partners and beta readers for specific suggestions I found most helpful. Personalizing it makes the person who took the time to read and remark on my project feel the time spent on me wasn't misplaced or unappreciated.

I'm sure there are folks who can jump right in without a negative reaction to criticism, but most writers aren't like that. Those words in that manuscript came from deep inside and are personal. So, give yourself a cool down period. Rushing into revisions or reacting immediately when you feel defensive will not only make your revisions less effective, it will potentially alienate you from the very people trying to help you become a better writer.

Wishing everyone a fabulous week.

Mary

Pathway to Becoming a Bestselling Author

Now that the New Year is rapidly approaching, it’s a perfect time to discuss writing goals for 2011. What you want to accomplish next year may be dependent on where you are on the above pathway to becoming a bestselling novelist (or one with a loyal and growing fan base).

Newbie Writer

So you want to write a novel (or have already started one). Congratulations! The first thing you need to figure out is WHY you want to be a writer. Is it because you want to be the next Stephen King or J.K. Rowling? If so, quit now. You’re doing it for the wrong reasons. But if you want to be a writer because you hope to write stories that might one day be published and make a difference in someone’s life or entertain your readers, then welcome to the club. But before you join us, there’re some things you need to do:

• Read Read Read in the genre you want to write. If you woke up this morning and decided to become a YA writer, then you’ve got a lot of homework ahead of you. Same deal if you want to write a medical thriller and have never read one before. Of course, in this case, you might want to consider attending medical school first (or law school if you want to write a legal thriller).
• Read outside your genre. You might get some brilliant ideas for your story. Plus, you might discover a genre you never thought about writing before.
• Study nonfiction books on writing.
• Read blogs. A lot of writers are delighted to share their knowledge and writing tips in bite-sized pieces. This makes it easier for you to remember the pointers when writing and editing your novel.
• Analyze the writing of your favorite authors and see how it can improve your writing.
• Join a critique group or find some knowledgeable beta readers.
• Learn to research. Most novels require research, even if it’s just to make sure your characters aren’t stereotypes.
• Attend conferences. They’re a great learning and networking experience.

Querying Writer

You’ve written your novel and done numerous revisions based on feedback from your critique partners and beta readers. You’ve polished your novel until it shines, and have given it some much needed distance. Now you’re ready to query.

• Learn how to write a query and how not to write one. Many queries are rejected because writers did those things that irritate agents and editors the most. Don’t be one of these writers.
• Research agents. Don’t waste your time and theirs by querying the wrong agents.
• Write a query and have it critted by your critique group and by people who don’t know the story. And don’t forget to make sure it has voice. If it doesn’t, the agent might think your novel lacks voice, too. (Hint: It needs to be in the same voice as in your novel. Believe it or not, this mistake does happen.)
• If you’re just getting form rejections, go back and redo the previous three points.If agents are rejecting requested materials, figure out why. IF you’re lucky, they might give you a hint. For example, if an agent mentions the characterization wasn’t as strong as she would like, now’s the time to study some books on characterization.
• Start working on a new project. I can’t stress this one enough.
• Consider trying out a different genre. Maybe you aren’t cut out to write legal thrillers, but discover you can write a kickass romantic suspense.
• Attend conferences.

Agented Writer

Congratulations, you’re getting closer to your goal of publication, but you’re not there yet. When you consider how many agents represent your genre and how many editors are looking for it, well, the odds aren’t great in your favor of your book being sold.

• Keep reading books in and out of your genre.
• Continue to develop your craft. Just because you’re agented, it doesn’t mean you can stop learning and challenging yourself to do better.
• Start working on a new project so if your current book doesn’t sell, you’ll have something new for your agent.
• If your manuscript is only collecting rejections, study the reasons behind them. Unlike agents, many editors do provide some feedback as to why they rejected the book. See this as an opportunity to improve that area of your writing (if that was the reason for the rejections), especially if they’re consistent. Remember, your goal is to be a professional one day (i.e. make money from your stories). And professionals (physicians, accountants, lawyers) are always learning. It never stops. Which brings me to the next point.
• Attend conferences.

Published Author

Wow, you did it. You’ve made it to a place a lot of writers dream about. Of course, you still have a lot of work to do. You have to promote the book (which I’m not going to go into here) and write a new one. But just because yours is published doesn’t mean you can stop challenging yourself and pushing your writing to the next level. Keep studying those books on writing and attend conferences. Unless you’re an award winning author (I’m talking the major literary awards), you probably still have room to grow. Don’t be the foolish author who assumes he knows everything.

Bestselling Author

Okay, I know no bestselling authors are reading this, but hopefully you keep this advice in mind if you ever get to this point. Your fans might be forgiving, but that can only take you so far. If you start to ignore the rules, it might not necessarily work in your favor (though sometimes it can). How many of you have stopped reading books by your favorite author because the writing just isn’t there anymore? The writer has become lazy. Once your fans drop you, you have to work even harder to get them back—if you ever can. That’s why I consider the pathway to being a bestseller (or a much admired author) a two-way circle. It is possible to move backwards and not just forwards. Also, your first published novel might have been a bestseller, but it was mostly because of hype. Your next novel might not do as well if readers where disappointed with the last one.

Remember, no matter where you are on the pathway, you should never stop learning and challenging yourself to do better. Your readers will thank you for it. So where are you on the pathway, and what are you planning to do next year to help you meet your goal of being published (or keep being published)?

(Note: Because of the limitations of my graphics program, this graph is slightly misleading. Only under very rare instances could a newbie writer skip the querying step and go straight to being a bestselling author. And a writer’s first book might be a bestseller (i.e. they skipped the part about developing a fan base over a period of several books), but I couldn’t show that in my graph. Also, you might be published by a small pressed before landing an agent for your next book.)

Stina Lindenblatt writes romantic suspense and young adults novels. In her spare time, she’s a photographer and blogging addict, and can be found hanging out on her blog, Seeing Creative.  

A Question of Betas

While I have several friends and colleagues who are willing to serve as "beta readers" for me, I feel that nobody who knows you can ever be truly honest.  And I'm culpable in this -- when I read for friends (I'm a 28-year journalist, so I'm asked to do this a lot), I can't really be fully open/honest/ forthright at times because I don't want to hurt my friend or colleague.

I think you finally need to hire a professional editor for unbiased input and reaction. But does this make sense?

This is really a tough question, which is probably why a good beta reader is worth their weight in gold.

I've been thinking a lot about this lately as I've been doing a lot of beta reading and critiquing. Here are some of the things I've learned.


Not every beta reader is right for every story.


That's right. Not every beta reader should read every story. I am finally learning that it's all right to say no. And I'm not talking about when the request is made, but after, when I've had a chance to look the story over. Some stories are just never going to appeal to me. Same with the characters. But how to tell when this might be the case? 

• When I find myself dreading opening up the document
• When I can't find a single honest, positive thing to say about the story
• If it turns out that I'm really not the target audience
• I do this, because I may inadvertently give out bad advice without realizing it--especially if I'm not familiar with the tropes in the genre.
• When the story is not at the level the writer thinks it's at.
• Let me explain this one further. Everyone is going and learning at different rates on the writing spectrum. And what we may think is great when we're at level, say, three, we'd be able to spot the weaknesses on and fix them if we were at level five. So if the writer is at a level three, and the beta reader is at level five, there can be some dissonance there. When this happens, and I know the crit is going to be extensive and probably hard to take (because, let's face it, criticism hurts even if it's only meant to help us), I always email the person I'm beta reading and send the first 20-50 pages or so and ask for permission to continue the crit. I do this, because while crits can sting, I never want one of mine to crush. And I let the writer know that.

Not every writer is ready for a beta reader.

• As I said earlier, crits often sting when we first get them, whether they're from trusted betas, helpful strangers, agents, or editors. Not everyone is at the point in their writing journey where they're quite ready for that. I remember the first real crit I ever got. It nearly crushed me, even though I'd thought I was ready for it. I set it aside for a day or two and was able to come back and realize that the critter was being a lot more objective about my story than I was, and luckily I let my emotions cool before I did anything drastic. Like reject the crit or give up writing. But I have seen both happen to different people, and I think it was just a matter of rotten timing.
• And qualifying this--I think it's important that writers are completely honest with themselves before they seek someone to crit their work. We all want praise, I think. It feels good to hear what we did right. That we have amazing characters and an incredible story. But if that's all we're ready for, I think we need to let the critter know. If we're at the point where we want a mix of criticism and praise or an all out blood fest, we need to let the critter know. I think the key here is honest communication--first with ourselves, and then with those with whom we are entrusting our stories.

Not ever writer is ready to be a beta reader.

• I think there's a huge learning curve that happens, depending on a lot of personal factors. That said, for this point, I think it's important that those who are beta reading are honest with their motivations for critting for others. I think the best beta readers are those that are critting with an eye out to help make the story they're reading as strong as they possibly can. To align with the writer themselves and work together to make the story sing--not to turn the story into what they envision the story should be.

On Impartiality

So my thoughts on hiring a professional editor that would be completely impartial? To be honest, no one is going to be completely unbiased, because we all have certain things we like better than others, certain weaknesses that bother us more than others. So is hiring an editor a good idea? I think it depends on your goals. If you're looking to self-publish, I would definitely say yes. But otherwise, I'm not so sure.

I think it's important for writers to learn the skills they need to polish their own work, and to learn how to listen to their gut when it comes to deciding what works best for their stories. Editors are expensive (and rightfully so, I think), and I believe that a lot of the benefits from hiring an editor could be found for free by discovering some very good beta readers. Free, except for the time you must invest in returning the favor.

So what makes a good beta reader?

• Someone who will be honest with you. I believe there's honesty, and then there's honesty. In detailing what we think are weaknesses, I think it's important for critters to be honest, but kind. This doesn't mean sugar coating things. It just means stating your opinion and focusing on the writing rather than on the writer. It means not making sweeping statements that include the words: always, never, etc.
• Someone who wants you to succeed. My best beta readers are those that I can turn to not only for support for the story, but support for when I'm feeling down. They remind me why I'm doing what I'm doing. They're a shoulder when I need one most.
• Someone who complements your weaknesses with strengths. We're all in different stages in our writing journey, and at different stages within each part that encompasses writing. So while I might be a 10 at description, I might also be a 5 at characterization, an 8 at world building, and a 4 at grammar. So I'd be on the look out for someone who is a ten at characterization and grammar, and maybe I could help them with description and world building. Because a great crit partnership is one where both parties are benefitting from the relationship.

Where to find good beta readers?

I've found mine in a number of places:

• fellow bloggers
• forums (QT has parts of a forum dedicated to critting pages and queries)
• friends
• online crit groups
• Facebook
• any place where other writers hang out

I hope this helps!

Danyelle collects dragons, talking frogs, and fairy godmothers in her spare time. She is currently getting ready to query SLIPPERS OF PEARL, a YA fantasy. She also enjoys making new friends, and can be found at http://myth-takes.blogspot.com.

Providing Better Critiques: Being Detailed in Your Feedback

We talked in earlier posts about how to handle critiques without getting defensive and how to provide critiques without giving the writer reason to get defensive.  This time, we’re going to look at how details make your feedback much more useful to the writer.

I need to start off by saying that everyone critiques in a slightly different way, and that everyone likes to get slightly different types of critiques. In other words, the types of critiques we give and like to get are affected by our personalities. In the comments of the Handling Critiques Without Getting Defensive post, one reader remarked that he wants his critiques to answer very specific questions and gets frustrated when they don’t.

I’d actually encourage you to be open to any and all of the things your crit buddies offer you. For example: you may not care a great deal about grammar, only about clarity – but how clear can you be when your grammar is poor? In other words, don’t just ask questions of your critiquers – listen for the answers. They may come in more forms than you expect.

Having noted that what each person wants is influenced by their personality, let’s talk about some of the things that can help make a good crit great.

Don’t just focus on what’s wrong…also share what’s right

If someone is only ever told what he’s doing wrong, eventually he may develop something psychologists call learned helplessness. People who have learned that they can’t do anything right give up, feeling helpless to make things better. So be sure to provide some positive encouragement along with your concerns.

Be specific

The more general the remark, the less helpful it is. Think about reading a book review. “This was a great story” or “Nope, didn’t like it” doesn’t tell you much about whether you might enjoy the book, does it? No, but the specifics about characters, plot, pacing, and theme the reviewer adds do. So if you’re providing a general summary of a chapter or story, be sure to add why the piece works or doesn’t work as a whole.

Zooming in a little closer, be specific as you’re making comments within the manuscript, too. If you like something, why do you like it? Does it elucidate character? How? Are you having a strong emotional reaction? What is it and why?

Yes, this level of critique takes work on your part, but it will be a much better use of your time – and a much bigger help to the writer – than something more general.

Provide suggestions

If something isn’t working, try going a step farther than just explaining why it doesn’t work. Float an idea or two about what might work instead. Even if you’re way off base and the writer decides that idea won’t work for her story, you’ve given her an example of what might take the story in a direction that works better.

It’s kind of like giving a friend a tip on what looks good style wise: “That dress doesn’t flatter your shape” is helpful, but it can be even more helpful to add something like “Something with a belt would accentuate your waist.” Ah, now the other person knows not only what doesn’t work, she has an idea of what direction to look for something that will.

Try a stream of consciousness

One of the best reviews I ever got was from a friend whose critique was basically a stream of consciousness as she read. Not only did it give me an excellent understanding of just how the story worked or didn’t work as she read, but it was entertaining because parts of it were much less formal than the average critique. (I included an excerpt below – my favorite comment in the whole manuscript is the ruh-roh. She didn’t write as much on every page, but you can see how I could definitely follow her thoughts. Click the image to see a larger version.)

So how about you?  How do you (or your crit buddies) add helpful detail to critiques?

How To Critique: It’s All In the Way You Say It

A couple of weeks ago we talked about how to handle critiques without getting defensive, but let’s be honest – it’s a lot easier not to get defensive when your crit buddy provides feedback in a palatable way.

I am going to spend another post talking about the nuts and bolts of a great critique – be specific, provide suggestions to help out, that kind of thing. But let’s focus first on what may be the critiquer’s most important skill: knowing how to phrase things.

From time to time I’ve seen critiquers sweep in on high horses with their noses in the air, prepared to point out perceived mistakes with the kind of cruel delight usually reserved for Disney villains. This type of person exerts ridiculous amounts of energy bashing other people. Since they’re often very frustrated writers, I suspect they do it to avoid looking at their own writerly shortcomings and dealing with their own issues.

Assuming you’re not channeling Cruella de Vil, though, you may still need benefit from keeping the following in mind:

1. Go in with the right attitude: to help the other person

Your primary goal with a critique should always be to help the writer improve his or her story. Sure, you can benefit from critiquing – you’ll be developing your editing skills, for example, and getting an opportunity to compare your work with someone else’s. You may even earn a critique from the other person of your own work. But while you’re actually doing the critique, focus not on what you’re getting out of it, but on how you can help the other writer improve the story.

2. Critique the story, not the storyteller

It’s hard enough for many writers to separate their feelings about themselves from their feelings about their work – don’t confuse matters by making the story’s problems about the writer. Instead, focus on the work. Rather than saying things like “You need to…” or “You keep…” or “You’re not being clear…” try phrases like “The grammar…” “Your character…” and “This plot point…”

3. Contempt has no place in a critique

If a problem is repeated or the writer is having trouble grasping what the critique is trying to say, some critiquers get mean. They use lots of exclamation points, TYPE IN ALL CAPS (which indicates shouting in the digital world), use a supercilious or parental tone, and make demands. “Why are you calling this URBAN FANTASY?!!” such a critique might say. “You CLEARLY don’t understand the genre!!!” Or, “DON’T send me anything else you haven’t PROOFREAD. You also need to learn to USE COMMAS CORRECTLY if you ever want to get published!!!”

Yes, you may feel like SHOUTING at a particularly dense crit buddy, but they’re much more likely to take in your feedback if you say something like “Your work is a little different than what I understand are the standards for the genre, such as _____.” Or, “I found a lot of typos in the manuscript. Do you have your spell-checker turned on in Word?” and “Commas can be tough to use. I have this great resource that helps me – here it is, maybe it’ll also help you.”

4.  Point out the positives as well as the problems

In their rush to point out the areas that need work, some critiquers forget how important it is to recognize the things that are well done!  It's actually much easier for someone to learn to repeat a positive behavior than it is for them to develop a behavior that's different than one that isn't working.  So be sure to encourage them to build on their strengths and keep up the good work when you see some in action.

If you  have a particularly difficult piece of feedback, it can also help to pad it with positives.  Try the sandwich method – emphasize a positive of some sort before pointing out the problem, and then finish with another positive.  For example, "Your heroine is strong, and I like that. I'm afraid that her actions [give examples] in this scene may be so extreme that they'll be a turnoff for a lot of readers, though. I wonder if there's a way to make her more empathetic – you've done a great job of that with your hero [give more examples]."

5. Remember that your suggestions are just that – your suggestions

When you give advice, try giving it tentatively. Let the writer try it on for size rather than slamming it down his throat, and give him the freedom to adapt or even reject your advice. Phrases like “Maybe you could try…” or “Have you thought about…” or “See if anyone else points this out…” can help a lot.

After all, at the end of the day, it is the other person's story.  You're just there to help!

What am I missing? What are YOUR tricks for providing palatable feedback?