Category Archives: author
As writers, we tend to plunk away at our keyboards in isolation. Even if you write your best work in the middle of a crowded coffee shop, you’re still enveloped in the protective writer bubble of isolation. It’s what shuts out reality and lets imagination reign. This is where the isolation begins and ends.
After we’ve fretted and pondered and written and re-written our literary works of genius, and before we let it fly on submissions, it’s time to let an impartial and objective set of eyes take a read. Yes, I know, you’re a brilliant writer, you don’t make mistakes, and your jaw-dropping prose makes other writers gasp in envy. But after the writing is done, the isolation of the writer absolves. Now it’s time for other people to get involved. It doesn’t matter if you have the gift, or that you believe your delicious prose is on fleek (did I use that word right?) your work as a whole could be a structural disaster. Or it may be an inadvertent expositional sermon. Your first twenty pages might read like a grocery list of character traits. A well-written grocery list, mind you, but a list none the less. And you might be able to fool the average reader with your clever prose, but publishers and book editors will see past all of that. They work with Stephen King and Margaret Atwood, remember? So, before you pay a professional to read and/or edit your work, join a critique group with a few other writers. Here’s the payback:
- Honest and objective opinions of your work. Writers have a tendency to be blind to their own work, but can spot errors in another writers work a mile away. Focusing on your work with other writers gives you specific feedback, valuable advice, and often creative suggestions that lets you view your work with fresh eyes.
- You will grow as a writer. Not only will you be receiving critiques but you’ll also be giving them. As you give and receive constructive feedback, you’ll be training your brain to look beyond the words and into the mechanics of your story. It provides the education and experiential growth that every writer needs to improve. And there is always room for improvement.
- It offers motivation and accountability. Setting regularly scheduled meetings with your critique group offers a certain accountability. Being prepared for your group every week with a new piece of writing can be the kick in the ass some writers need to set the necessary time aside to write.
I would also suggest finding strangers to critique with. They will be the most objective. And the smaller the group, the more opportunity each of you will have to submit your work for discussion. It’s also important to find writers who are on (or about) the same level as you and who are avid readers. As time goes on, your relationship with these writers will become more and more comfortable, but the habit of their honesty and objectivity will already be established. These critiquing partners will become champions of your work in the future.
And lastly, the most important thing to do before joining a critique group is to let go of your ego. You want writers who will shred your work to pieces and leave you weeping on the floor in the fetal position. (Well, maybe that will just be the first meeting.) If you require constant validation as a writer, get it from your family and friends. Joining a critique group is business. It’s education. It’s a commitment to yourself to become the best writer you can be.
Where can you find these other writers? In local workshops, writing classes, meetups, writing events, online, etc. They’re everywhere, and they need you just as much as you need them. And did I mention that all of this is FREE?
That’s it, there’s no more. What are you waiting for? Go get ’em.
I’m a lurker, I lurk people. I’ve probably lurked you. Sometimes during my lurk-capades I find a little nugget of wisdom that blows my world apart. It’s usually mentioned in some off-handed way that suggests it’s common knowledge. In which case, this post should embarrass me.
I’ve been using Microsoft Word for some 20-odd years. It’s my go-to word processing application for everything when writing. It’s handy word-count feature keeps me on track when submitting to journals and contests with submission rules. After 20 years you’d figure I’d know all its secrets. But no, this morning’s lurk informed me that my word processing application has been quietly lurking me. After all these years it’s been keeping track of every minute that it takes me to grind away at edits. Well played Microsoft, well-played.
If you already knew about this little-known feature, congratulations, and where have you been? Tweet this information out immediately! If not, check your documents in File/Properties/Statistics (for Word 2003 or earlier) and Office Button/Prepare/Properties/Document Properties/Advanced Properties/Statistics (for Word 2007 and later.) I promise that Word doesn’t judge. If it did, maybe I’d have known about it earlier. (hint hint @Microsoft, forget Clippy, where’s my AI? I’d like the voice of Spock please, or Gandalf, yes, definitely Gandalf.)
Word: “Um, excuse me Catherine?”
Me: <fingers recoil from keyboard> “Woah… WTF?”
Word: “Yeah, uh, it’s me Word. Can you pick up your pace a bit? You’re slacking this week.”
Me: “What do you mean slacking? These edits are tough.”
Word: “Yes, right, well, you’ve been editing chapter one for 6,586 minutes already and you need to push on if you’re ever going to get this novel done.”
Me: “And what would you know about how long it takes?”
Word: “Well, I don’t mean to brag, but I am a child of Microsoft, and we know everything. Shall I give you the estimates of author chapter revision times in North America?”
Me: <pushes mute button>
This summer I attended a writing workshop hosted by the brilliant book editor, Brian Henry, on how to write a bestseller. I was excited to attend the workshop and be able to rub shoulders with the likes of Kelley Armstrong (author of the Otherworld Series) and, as usual, my imagination got away from me in the days leading up to it.
You know what I’m talking about.
While instructing us in the do’s and don’ts of making it to the big times, our eyes would meet. She would feel compelled to ask me what my current novel was about, and then, after I ever-so-eloquently pitched my story, she would request we become BFFs immediately and later that day we would be discussing the movie rights of my yet-to-be published novel as we sipped latte’s under a patio umbrella.
Yeah, so that didn’t happen. But I did shake her hand.
The workshop, itself, was pretty great. Kelley spoke in detail about characters, central goals, minor goals, conflict, POV and the emotion in our fiction. She was easy to understand, and there was a simplicity to what she was saying that helped me re-align my story in order to provide complexity, depth, and of course, action, action, action.
There was also a lot of obvious stuff thrown around. Things like, “you need to write a good story,” and you need to “stand out,” and have a “fresh voice,” that is different and compelling. We’ve all heard that before, right? But instead of wanting to slap her, I found that Kelley made it work. She backed up those statements with the “how” that most people leave out.
The most important piece of advice that I took home was that success has to be hard-fought. Another obvious humdinger. But the not so obvious part was that the fight of my characters for success needed to mirror my own. I had to work hard to bring my novel to the publishing market, and my characters had to work just as hard to bring success to the story. It was an inspired epiphany of layers that made me drive home in a mind-blown daze. If I want readers to spend their time in my world, I need to fight to give them something worthy of their time.
Somewhere about half-way during the workshop, we stopped for a short writing prompt. We got our notebooks out and had 20 minutes to crank out a short story based on a collaboration of prompts. Quite honestly, I’d never written a short story under pressure before and I was a bit panicked at the prospect. Everyone else seemed to be scribbling away and I was just sitting there like some gloss-eyed fool. But I persevered, and a couple of months later, that short story went on to win the Eden Mills Fringe contest. A short story that I’ve been invited to read at the Eden Mills Writers’ Festival next weekend on September 13th. That never would have happened without Brian Henry, that workshop, or the inspiration from Kelley.
Keep writing, keep editing, and think about taking a workshop or two. It’s worth the investment.
I may be one of those people who sees the world through rose-coloured glasses, but when I stumbled across this experiment by Catherine Nichols, I almost fell out of my chair. Partly because my name is Catherine, but mostly because for a grown woman, it appears that I’m as naive as a toddler. I assume individual equality, and I always play by the rules. (Ahem, fortunately, they’re my rules.)
Catherine had been sending out queries to literary agents for a novel she had written, and was receiving minimal responses. Now, this in and of itself is not unusual, however, it wasn’t her first novel, and she (along with her published writer friends) knew this novel was good. It had that something, and you just know. After some 50-odd sends to agents, she had two requests for a full and an inbox full of form rejections.
And so it was on one fine Saturday morning, feeling discouraged and perhaps low on java, she created “George Leyer” and gave him his own bare-bones email account. She copy/pasted her query and used all the same language, only now the queries came from George instead of Catherine. (And because my dog’s name is George, I figure her story is a sign from the universe.) She sent out one query, and as she prepared the second, there was already a response from the first in the empty email account. What the… on a SATURDAY? It read: Mr. Leyer. Delighted. Excited. Please send the manuscript. She sent a total of six queries that Saturday, and she received five responses before the end of the weekend. Three requests and two personal rejections praising “his” abilities. By Monday morning, she had deduced that the novel wasn’t the problem, it was her as the author.
In a puff of slighted rage, Catherine rolled her experiment out to 50 agents, some of them she had already queried under her own (female) name. “George” received 17 requests for a full manuscript. He was eight and a half times better at writing the exact same novel. Not only that, his rejections were personal, warm, and full of compliments and advice.
Now, for new and budding authors that send out queries, our name is likely the last thing we’re thinking about. In fact, it’s usually the only thing we figure we got right. The query itself is a fierce animal that often takes longer to write than our precious novels. We brood, we re-write, we take critiques, and then we spend large parts of our days curled up in the fetus position licking our critiqued wounds. There are as many authoritative types telling us the ‘correct’ way to structure a query and send our proposals as there are writers trying to get noticed. With all of this complex publishing science to navigate, now we have to worry about the name we attach to our work?
And if you do lie to 50 agents, 17 of which ask for a full, and let’s say a handful of those want to represent “George”, what’s that awkward conversation going to sound like when they find out that he’s a she?
I don’t know how to feel about any of this. Is this an anomaly? Tell me what you think.