Author Archives: Colette Black

The Cost of Cons

The Writing Life 5 Comments

Worldcon took place in Reno just a few weeks ago. (I’m surprised I haven’t heard anything about it from the attendees. Drop us a note if you would.) Comic-Con San Diego was in July, Dragon*Con is this weekend, and World Fantasy Convention is next month. Those are some of the larger conventions.  There are other smaller conventions I’m fond of such as Life the Universe and Everything, Comic-Con Phoenix, and Conduit-from which I have fond memories of being soundly beaten in a game of Magic: The Gathering by Brandon Sanderson.  Then, there are the local conventions: Leprecon, Coppercon, and TusCon to name a few in Arizona. Add to those, the writing conferences and workshops available all over the country: Southwest Writers Conference, Superstars Writing Seminars, Dave Wolverton’s many wonderful workshops, Clarion and Clarion West, and the list goes on and on. I could easily have named dozens upon dozens and, for one reason or another, they’re all good!

So how do we choose? We want to go to the bigger ones for the chance to hear from and associate with well-known authors, agents, editors, publishers and the numerous fans. I attended World Fantasy Convention two years ago and found a critique partner, met and received advice from a top-notch agent, gained a mentor, witnessed bad and good pitches by aspiring authors, listened to some great panels, and made wonderful friends. If you can possibly afford to go to one of these, do it!

Okay, so if we’re meeting the big wigs at the big conferences, why go to the small ones? At LepreCon last May I met and chatted with one of the major editors of my favorite publishing house. Did I pitch? No. Did she show interest in my work? No. But when I get an agent, I can meet this editor again and have a basis for future conversation. Even if you’re self-publishing, this is where you’ll find your local fan base. It’s a great opportunity to connect with like-minded individuals from your own area.

Workshops and Conferences. I have to be honest, I’ve never been to a writing conference, but I’ve heard they’re wonderful. One of my dear friends and a well-published author found her agent at a conference. And there are oodles of classes to choose from that  focus exclusively on craft. A workshop is similar, sometimes more expensive, but often more one on one. I’ve made some of my best writing friends, many of whom are on this blog, from writers seminars and conferences. These are the fellow writers that will root for you, be beta readers for you, and motivate you. Every workshop I’ve attended has not only been worth the money for the workshop, it’s been priceless for the friendships made.

If so many of them are worthwhile, how to  decide? I don’t know about you, but I can’t afford them all… in money or time. So I try to use the rules of socialization I learned as a child; be inclusive and take turns. So, a big con, a favored con, some small cons and a workshop. Too much? Yes. It’s what I attempt, but it isn’t what I achieve.

I look at what I’ve attended, what I want to attend, what has worked best, and what I haven’t tried yet. Then I figure out how much I can spend and choose what I can manage next.  I try to take into consideration the time I won’t be writing, and the distance I have to travel. But I always work toward attending something, because sitting around and writing is only part of the equation. We have to get out and connect with people. After all, isn’t that what writing is really about, people? We may be reclusive hermits, but we write stories that connect with humanity. So get out there and Con.

I mean that in the positive sense, not in any way connected to criminal activity. 🙂

Why We Should Read Drivel

Craft & Skills 9 Comments

We’ve talked before about the important of quality writing. David Farland has done many fabulous posts in his Daily Kick e-blog on the importance of quality over quantity.

So when we pick up that book that makes our skin crawl, every fiber of our writing soul screaming in agony, why should we read on? I mean, we don’t ever want to write like that! We’ve all heard before, read the slush so you know the difference between good and bad work, but what are we trying to really learn? Won’t we end up subconsciously assimilating the writing style?

Not if we pay attention.

I recently read a YA book by an author with a fascinating concept that promised an interesting, innovative journey. The writing was okay, but….not really. At least in my opinion.

Why I valued the reading experience:

  1. I took notice of specific constructs, dialogue, and plot jumps that made the book uncomfortable for me to read so I could make sure I’m not writing my own works in the ways I was silently disparaging.
  2. I searched for the elements of the book that made it appealing to the editor, publisher (well-known top six), and fans. Those elements were good enough to catch people’s attention.
  3. I analyzed what audience the book was targeted for, why it worked as well as it did, and what I could learn from their relative success. Quite a bit, actually.

Will I read the sequel? Not on your life. Will I read anything else written by that author? Not likely. But I’ve learned a lot about my own writing, my goals, the hold some publishers still have in book selling, and the importance of good advertising, especially with a middle-grade/teen audience.

The Harsh Side, Part IV: The Gentle Shove

Craft & Skills The Writing Life 3 Comments

So, we’ve talked about how to handle receiving a harsh critique, and how to soften giving a harsh critique, but what if you need a harsh critique and your dear, sweet friends and family are determined to play nice?  How can we get them to choke up on the bat and give us the dirty, painful review we don’t want, but need? The answer to any communication crossroad is asking the right kind of questions. Just as questions are necessary to truly understanding another person’s wants or needs, they are equally important in getting the truth from our closer beta readers. (Closer in relationship, not distance.)

Here’s a list of some questions that have helped me. I’d love to hear any additions if you have them. You’ll notice I avoid yes and no questions. I want to get people talking, opening up, and so I try to get their words flowing. I’m often surprised by how much honesty eventually comes out.

  1. When you started reading, where in the manuscript (ms) did you stop first and why?
  2. Did you ever set the ms down for more than two days? What were you doing at the time?
  3. What kind of a person is the protagonist? Antagonist? Sidekick…etc.? (Asking how they see your characters will give you insight into how well you’ve done your characterization and their growth arcs.)
  4. What part bored you the most? Why? (This can be a tough one for some if they don’t want to admit any part of it wasn’t edge of their seat thrilling. Get an honest answer and get them talking about it and you might see a plot flaw. Since you’re pushing on this, be careful how serious you take it.)
  5. What part was most exciting? Why?
  6. Who would you recommend this book to? (Pay close attention to this answer. Read body language. If they suddenly become reluctant, and they’re slow in answering, you may have some work to do. Of course, you also have to be careful you don’t read something into their body language that isn’t there.)
  7. What does the protagonist look like? Antagonist? Mother…. Etc? What time of year did the action take place? Where?  (Having them explain descriptions of key people, places, or elements in your story can tell you if you described them to a reader’s reasonable understanding. It doesn’t have to match yours. It just has to exist to the extent you’re trying to convey to your reader.)
  8. Who did you like best in the book? (Again, look for body language. Are they animated when they discuss your character, or kind of bored?)
  9. Who did you like least in the book? (Have you made a villain they love to hate, one they sympathize with but understand must lose, or one they couldn’t care less about one way or another? Regardless of their feelings, it should be a strong feeling.)
  10. Would you like to read the sequel? (Again, watch initial reaction; not just the words that come from their mouths.)

Remember, in all of this, when we try to understand other people our perceptions, positive or negative, and our own attitudes can cloud judgment. If you can have an impartial friend with you, it might be helpful. Also, know when to stop. If someone feels like they’re being grilled, they definitely won’t want to read another ms from you. Sometimes it helps to let your reader know beforehand what you’re doing and why. I’ve found these types of questions helpful; often given in small doses to my daughters who are determined my writing will rival their favorite authors. I love that they love me but…you know. I want my writing to really rival their favorite authors.

 

The Harsh Side, Part I: Finding Gratitude

Craft & Skills The Writing Life 5 Comments

Any of us who have been writing for very long has received them, probably given them, and seen various reactions to them: the harsh critique. Now, I’m not saying we should be grateful to those people who can lay it on the line, say it as it is, and give the word “blunt” a sharp edge. But…well, maybe we should be grateful.

I have a well-published friend of mine, Gini Koch, who offered to look at some of my work early on. Some comments included: “Your protagonist reads like a stuffy narrator.”, “the ending is totally blah — that’s not an ending, that’s a faked out happily ever after. It’s too pat, it’s unbelievable.” and “I’ve done edits on the first chapter. I stopped there because, honestly, this book is so very far from being ready that it’s not a good use of my time.”

Ouch. Yes, we’re still friends, good friends even. I cried, I ranted, and then I got back to work. I tried to separate myself from my hurt feelings and examine her comments with an objective eye. For the most part, she was right; nail-on-the-head right. By following her advice (most of it), my writing ability took a giant leap. I still had plenty of work to do and I still have improvements to make, but I’m better off for her harsh criticism of my work.

Recently, I was placed in a similar position. I received a manuscript with a great concept, good pacing, and loaded with merit; the writing needed serious work. I found myself saying almost verbatim to the last comment quoted above. I didn’t see the point in continuing, only to make the same comments over and over again. Understandably, but unintentionally, I hurt feelings and damaged a friendship. I didn’t mean to. I critiqued the work with the same critical eye I use on my own writing and anybody else’s. I tried to be tactful. I tried to be nice. I don’t think I succeeded.

In the process, I’ve come to realize something I knew, but only now understand. Those painful critiques were the effort of someone who truly cared. My friend wanted me to succeed. She wanted to give me all the tools she could, knock them into me if necessary, so my writing would improve to publishable level.

A few months ago, a short story of mine was published by an online e-magazine.  It was my first accepted work. My friends have raved about how much they loved it. It won third place for the month and was even accepted into an upcoming anthology. I couldn’t have done it without the encouragement and advice from several honest critiques. Thank you to all of my writing friends who are willing to tell me the straight truth rather than spare my feelings.

Still, I wish I knew how to make comments less painful. I worry I might discourage someone from their dreams.  And on that note, keep a lookout for our follow-up post, The Harsh Side, Part II: Lessons Learned the Hard Way, by Evan Braun. In my opinion he’s the master at diminishing the sting of blunt, honest comments. He has some tips to help us soften the blows of a harsh critique.