C is for Critique

Maybe in the beginning I hated it. Okay, there's no maybe about it. I've always hated getting a crit. I remember being in art school, with my work hanging on the wall and everyone walking around it like it's an alien specimen. I still get slightly ill when I think about it.

But I had to put my big girl pants on when I started writing seriously three years ago. I had to let my work out there because I knew that it was the only way to get better. I think that's one of the differences between hobbyist writers and real writers. It's not a matter of quality or talent, necessarily. It's an openness to grow - painfully if that's what it takes - and to take on board criticism of your work.

The feedback I get from my writing group is priceless. As is the accountability of meeting every two weeks. It keeps me focused and thinking, thinking about my writing. It keeps me honest.

Two huge things I've learned from being in a writing group and routinely getting feedback:
First, consider the source. Every reader has an angle, a set of characteristics. Sure, we're all supposed to put our personal biases aside when giving a crit, but who can, really? One member of your group might dislike paranormal elements and you'll end up with notes in the margin like "doesn't feel realistic." Which might be true or might be them projecting their preferences on your work. Do not throw the baby out with the bath water and dismiss the comment, just consider the source.

Secondly, I always pay close attention to feedback I don't agree with. Maybe that's perverse, but if my initial instinct is to reject a piece of feedback as "no, that's not what's happening here" I make myself stop and look more closely at the comment and why I'm rejecting it so quickly? Half the time there's something there that I don't want to see but absolutely need to see. Understand that you have angles and biases too. Be open.

And what if you don't have a writers group? YOU NEED ONE. It can be online, informal, at a coffee shop, small or large. I put our group together after NaNoWriMo meet ups. You need to be a part of a larger community of serious writers.

Oh, and you need this book. It's genius.

By Becky Levine

And C is for Clap Your Hands Say Yeah.

I Hate... Writing Books

writing books nevermore?

I don't, not really. There are about 1000 creative writing books that give good, solid advice, advice I could use. But I made a mistake with writing books. I bought them by the truck load before I began writing.

This isn't as daft as it sounds. I like to learn from books, so when I was getting married I bought married-type books. When I was pregnant, I bought baby-having books. I like to be prepared, though I'm woefully aware that how-to books only give you a foundation, a peek at a real experience.

So I figured writing how-to books would do the same. They'd help me understand what was involved. You don't read a cookbook after the souffle has flattened into a discus, do you? So I figured I had to read as many writing books as I could before getting started.

If I'd known myself better, I would have realized that this was grade A procrastination. Another problem was that everything described in the how-tos was abstract. Don't use these dialogue tags. Show don't tell. Make the reader feel the emotion. These books always have example text included to show good writing and bad. The good writing is always the Great Gatsby and the bad writing is always someone you've never heard of. But until I had completed my own book and revised the crap out of it, until I understood writing terms not only intellectually but by instinct, all that advice was so much noise.

Until. (You knew that was coming.)

Hooked by Les Edgerton

My beta reader extraordinaire, Becky Levine, after reading my book's first chapter, recommended Hooked to me. The fact that she recommended a writing book to me after my first chapter made me cry inside, just a smidge. OK, a lot. I thought I was beyond writing books - I'd read them and they hadn't helped - and being told I needed schooling did not feel warm and fuzzy.

Hooked is about beginnings and how getting the beginning right can have a positive knock on effect on your whole book. The beginning is a microcosm of the whole book. And if it isn't in your book, you may have a problem.

But here's the amazing part. After reading the first three chapters of Hooked, I knew what to do. I mean, I knew exactly what was missing in my first chapter. And a new scene, with Fin, Hero, a cleaver and a chicken, bloomed in my mind, complete. It was perfect. In a short, mundane kind of scene, I set up characters, set up conflict, story problem, surface problem AND foreshadowed the end. SLAM DUNK.

I couldn't have done that without writing BookEnd first. I wouldn't have understood what was missing. I sure as heck couldn't have come up with a solution without understanding my book the way I do now that it's finished.

So, if you are just starting to write and you haven't finished your book, I say save your money for lattes and chocolate to get you to the writing finish line. Then get Hooked. It will open your eyes.

What's your favorite writing book?

Betas are Better than Alphas

(Note: I know I said I'd post on Thursdays, but a sinus infection sort of obliterated 'thursday' and I woke up with an Nyquil hangover on Friday. Forgive.)

Beta SP used to be used for high end video production before everything became digital.

The Beta Band was this awesome Scottish band that was around for a nano second then gone (but not forgotten, see High Fidelity soundtrack) and that was about all I knew about beta (except it's the second letter of the greek alphabet.)

Last week I came to the realization that I needed beta readers. I have great crit partners, who have been reading my work in chunks - in real writing time - for almost a year now. They know my characters and my world inside and out. The know my motivations, where there have been major changes, and what I've been worried about. In short, they know too much. They could never read BookEnd the way a reader would - the way an agent would.

Rachael Harrie came to the rescue again with her beta swap board. I found two wonderful beta readers (hey Yvie, hey Sharon). I mean, I'm saying they're wonderful because they've even agreed to read my 85K book and that seems a huge gift. If they like it and give me some useful feedback, that's gravy. I'm looking forward to getting their work, too.

I also reached out to an amazing, powerhouse editor and writer I met at a conference last May. Becky Levine wrote The Writing & Critique Group Survival Guide (essential, whether you have a writing group or not.) I asked her for some quick advice on what to look for in a beta reader. She gave me comprehensive advice and suggested we beta for each other. 

I FELL OFF MY CHAIR.

Then said, HECK YEAH!

Can't get over the generosity of the writing community.

So, below is my synthesized list (from many sources) of what I think is important when looking for a beta reader. 

Beta Readers

1) Understand the difference between a crit partner and a beta reader. Here's a link to a post by Mary Kole at KidLit that explains some differences. For me, a beta reader is the stand in for the reader (buyer) and the gatekeeper (agent). For that to work, they have to read your book when you are completely done with revising it. Also, the kind of feedback a beta would give is more general and not quite so specific (missed a comma, this is an en dash, not an em dash) - not that those kinds of things can't be included, they can. I just don't think that should be the focus of a beta reader.

2) Write a 'want' ad for the beta reader.

Include specifics about who you are as a writer, what stage you are in (querying? planning to in the next 6 months?), what the genre is etc. It might be helpful to include what you think comparable titles would be, to give the beta reader an idea of where your book would 'live' on the bookshelf. 

Then list what you want from the reader: light/medium/heavy feedback; one time beta read or ongoing beta read relationship; can/cannot handle tough love (Be honest here. everyone wants to say they can handle it, but if you truly can't, then the feedback you get from a reader who rolls this way will be useless to you).

3)Let them know that you are available to reciprocate and read for them (if/when they are ready). I believe you must be willing to do this. You want you and your beta reader to be invested in the relationship. I also offer to bake cookies for everyone who reads for me. Choc-chip-mint cookies. I know, so good.

4) Finally, don't forget to discuss what format you want to receive/give feedback in and the timeframe - is there a deadline looming for you or your reader? What can you expect and what can they deliver. Clearing that up in the beginning will avoid disappointment later.

Now a question: What do you want from a beta reader? What's your best/worst experience with beta readers? (OK, that was two questions, remember sinus infection?)

Conference Secrets - Revising from Critique

For the next four Thursdays I'm going to be reporting on some of the awesome workshops I attended at the Pennwriters Conference in Pittsburgh this past weekend. Make sure you also check out Laura Campbell's conference blog post on Four Truths of Character

Revising From Critique
Becky Levine lead this incredibly useful workshop, taking us through the process she uses to revise after feedback from her crit group. She made the point that this is what works for her and that everyone learns/writes differently. Having said that, I think that the plan of action she lays out is an excellent strategy. It's designed to make the overwhelming task of revision (one that is before me as we speak) seem less daunting.

Check out Becky's book. It's indispensable.

The Writing & Critique Group Survival Guide: 

How to Give and Receive Feedback, Self-Edit, and Make Revisions

1) Join A Group
A group is important, if you don't have one get one, because 'fresh eyes see clearly.' Pennwriters is getting members together for 'round robin' email crits for people who can't access writers' groups. If you're in Pennsylvania check Pennwriters out. If not, look for a meetup.com group in your area.

The way we get feedback at BCWG is once a month we all submit and comment on each others work, about 20-30 pages each time. Since there are only three of us this means that we each contribute two crits and we each get two crits, which is great. One thing that Becky suggests from the get go when giving a crit is to both include comments in the margins of the submission AND to give a summary of your criticism. That's not something we're all doing, but I'd love to change that in our group. I find the summary so useful, especially since I'm not always sure what the margin notes are referring to and that I can never take as many notes as I should when hearing a crit, too busy cringing I guess.

Another important point Becky makes about getting 'fresh eyes' on your manuscript is that, because you live in your book every day, you see all the details. You might be convinced that something is coming across that just isn't. In other words, something you think is there might not be there. Your crit group is your proxy reader. If they don't 'see' or 'get' something, it's not there, or not there enough.

Lastly, ideas spark ideas. Talking about writing is second only to sitting down and doing it. It's a great motivator.

2) Wait to Revise
Look over your notes from your crit partners right after the crit to make sure you understand what they're saying but RESIST the impulse to revise immediately, especially before the ms is finished.
Polishing is easy, but bigger changes are coming. Give yourself the chance to marinate the feedback you've gotten and to develop your story. Most importantly, don't write backwards, as in go back before you're finished, write forward through a draft. You'll be learning more about your story if you write to the end. Plus you'll be able to see how the end changes the beginning when you go back to revise.

3) When You Are Ready Start SMALL
So you don't start breathing into a paper bag when you drag your stack of critiqued submission out of your drawer, start small.
a) Work chapter by chapter
b) Re-read your critiques, it's a great way to get yourself back into your story.
c) Working from the critiques you've received, use check marks to tick off the easy changes first. These are the little fixes you can easily clarify. For example if you've forgotten some dialogue tags, or if a dog you introduced in the first chapter as a poodle ends up as a doberman in subsequent chapters. Every time you hit one of these easy fixes, use a big check mark to give yourself a sense of accomplishment - you're doing it!

4) The Highlighter is your friend
Use a highlighter to call out any crits/suggestions you aren't sure about. You don't have to agree or disagree, and you don't have to decide just this minute how you feel about something. Highlighting the passage will make sure it doesn't fall through the cracks. Let the comments simmer. You may find that when you come back to it you know how you feel. Or, it might be something you chose not to address at all, your choice.

5) Think through the big stuff
Now that you've been through the little stuff, you see that there's not as much initial revision as you first thought. Now you're in the 'heart' of things.
a) Go through all the comments that you haven't already checked off, this is the big stuff
b) Make sure you understand all the feedback - and if you don't there's no shame in reaching out to the person who gave it to you and asking for clarification.
c) Consider the impact the proposed change will have on your story. How will this suggestion improve or change the story? How do you feel about that?

6) Make the decision
a) When considering a suggested change which isn't obviously a 'yes' or a 'no' to you, consider the source. Every crit group member has strengths and weaknesses. One member may love elaborate detail and may be telling you to add much more detail. But is that in service of your story, or is it really because that's what this person enjoys?
b) If you are really undecided, put it to a vote. I actually did this not too long ago on something I was thinking about. I asked if my group thought I should change the gender of my main character. They both overwhelmingly said NO!
c) If there are some in the group that don't 'get' or understand something your trying to do, consider that this may be something your reader won't 'get' either.
d) There will be comments that you've given careful consideration to that you just decide don't need addressing. That's ok.

7) Revising Beyond the Critique
It's important to realize that people in your group aren't super heroes - they miss stuff. Just addressing their comments isn't enough. You need to go through it again and again, to catch what they might have missed, like:
a) Inconsistencies, spelling/grammar errors
b) Need to tighten character consistencies (so the characters act 'like themselves' throughout)
c) Weaving the changes through the whole plot
d) Tying subplots together so that plots are integrated, not just parallel
e) Deepening character motivation, so it seems inevitable
f) Build a full world, so it's believable and 'visible' to the reader

8)When all else fails
Manuscripts need to simmer and stew in your subconscious, during writing and revising. When you need to give yourself the time and space away from your ms, do it, don't beat your head against the wall.
a) Walk away from your computer
b) Open a new file and write it fresh. Save the old file of course, but try writing it differently just for the heck of it. You'll be freer.
c) Take a walk, listen to music, read eonline.com (that was my suggestion, not Becky's!)

Becky's most important take away for me? Revision is Magic. It can be as fun and transcendent as writing that first draft when it comes together. Have fun!

Live! from the Pennwriters Conference - Day 2

Note: Blogger Ate My Homework.  I wrote the below during the conference and scheduled it to post, but for some reason it never did. So I'm manually posting it today. Yes, it's not actually 'Live' but it felt live at the time, does that count? 


Tomorrow I start my Conference Secrets posts with Revising from Critique. Conference Secrets will post every Thursdays for the next four weeks. My fellow BCWG writer, Laura Campbell will also be posting about the workshops she's attended on her blog, Writing Unleashed. Check her out, check me out. It will (almost) be like you were there.

BURRRNED out.
I've left the Build Your Brand workshop because despite the copious amounts of coffee I've had, I'm nodding off. It's absolutely not the fault of the workshop or the leader, it's that I'm exhausted. I've got fifteen minutes before my next workshop entitled Welcome to the Jungle! I can almost hear Axl Rose screeching, "You're gonna diiiiiie!"

That's something I didn't think about before, the sheer weight of the information I'd want to absorb, the names of people I've met, the books, blogs and resources I've been told I have to read. I'm worn out but I'm looooving it. Everyone here is a writer, everyone understands how hard that is to say sometimes. I'm sorry for the corniness, but it's like coming home.

And something good has happened. Two somethings.

Because I'm a chicken I chose not to do face to face agent pitching. Barbara Poelle at the Irene Goodman Agency was offering to review and comment on query letter, synopsis and first ten pages in lieu of an agent pitch. That seemed like a pretty amazing deal, to have that much focused feedback from such a high caliber agent. Plus, I thought if I had to talk to someone about my book face to face, I might pass out.

After my first workshop, Perfect Pitch with Rachel Coyne of FinePrint Literary, I found my courage and signed up to pitch to her after lunch. Then I went to registration to pick up my feedback from Barbara Poelle.

I swear I'm not exaggerating, I actually started trembling. Across the bottom of the page she'd written "Alexandra, I'm interested in seeing a full ms."

The nice volunteer at the registration table asked me if I was okay. I think I answered 'oh shit'. She said, "Is that a good thing or a bad thing?" I told her it was good and then went away to hyperventilate. It's so much more than I expected.

The pitch didn't go so well. I was nervous, job interview nervous, and I didn't do a great job of presenting either myself or my story. Rachel was very nice, gave me some insightful feedback and told me to query her when I was ready.

It was a rollercoaster all day long, ups and downs. As soon as the day ended I got into PJs and tried to relax. I seriously considered not going to that evenings Read & Critique, I just felt a bit pummeled. But I've got immigrant-grade work ethic so I scraped myself together and put on my glossy red lipstick.

In room 306 were: A moderator, an editor (Becky Levine) and an agent (Kathleen Ortiz from Nancy Coffey) plus eight nervous people. This was an anonymous read and critique with the moderator reading the two-page submissions and then comments from the editor and agent.

Both Becky and Kathleen were wonderful. Whip smart, insightful, kind and respectful. How they can read just two pages and be so spot on with their advice is a mystery to me. I truly have a lot of respect for agents now, seeing how deftly (and, I say again, respectfully) they handle submissions. I learned as much from hearing their crits on other submissions as I did when they got to mine.

Okay, I feel weird writing this. It goes against my Catholic self abnegation upbringing. But they freaking loved my submission. I was shocked. Becky said she loved it, just loved it. She mentioned a line that she thought was especially beautiful and said she just loved the story, the evocation of an 'other' world. She had some suggested edits, but generally she said it was a home run.

Kathleen said she loved the male protagonist, loved the world building and some other nice things that I don't remember. I don't remember because what she said next was, "Whoever you are, see me after we're done. I want to read more."

There was one more submission after mine. Then Kathleen said "Okay, who wrote BookEnd? You can't leave until I give you my information." I raised my hand like I was back in high school and everyone started to clap. Can you believe that they'd clap and congratulate me? They don't know me from Adam. My face was red and I was all trembly again. People were talking to me, smiling. I felt like I'd won some incredible jackpot. I spoke to Kathleen, who is lovely, and she asked me for 100 pages.

I floated down to the bar in the lobby and drank a pint with my friend Laura. I hardly slept at all last night.

This morning at breakfast I find Laura sitting next to Barbara Poelle. Barbara recognized my name from the submission I sent her and we started talking about my book. She is so smart and funny, so insightful. What is it with the bad rap that agents get? Everyone I met at the conference, even if they weren't interested in my book, were kind and respectful and completely generous with their time. The whole day feels surreal. I can't believe all these good things are happening to me. I expect the sky to fall at any moment (see previous comment about Catholic upbringing).

As soon as I get home from the conference I'm going to throw the kids in front of Spongebob and start polishing my manuscript. Okay, first I'm going to kiss and tickle them until they're gasping, but right after that, it's WORK TIME.