Category Archives: The Fictorians

How Writing Badly Can Help Your Career

Craft & Skills Editing First Drafts Leigh Galbreath Motivation Publishing Rewriting Superstars Writing Seminars The Writing Life 2 Comments

Sounds a bit silly, doesn’t it? But as I’m sure everyone here knows, one of the biggest stumbling blocks for any aspiring author isn’t really how good their book is. It’s how finished their book is.

After all, you can’t have a business without a product, which is, in our cases, a completed story.

The key is to be productive and with just about everyone I know, one of the biggest obstacles to their productivity (right next to the two hour commute or the kids who can’t seem to do anything without parental help) is that voice in their head that keeps popping up to say, “What are you thinking? That comma’s ruining the emotional thread of this scene!” or “Jeez, this is crap. Let’s go play on the Playstation where it at least feels like I’m accomplishing something.”

A recurring session during the Superstars Writing Seminars is Kevin J. Anderson’s productivity tips (which he is currently covering on his website for NaNoWriMo). This is where I first heard his #3 tip: Dare to Be Bad (At First)…Then Fix It.

And the guy must be on to something because he makes prolific authors look lazy.

Now, I do spend some time prewriting to figure stuff out, for the most part I find my story as I’m writing it. For the longest time, I’d get stuck in that loop that made me want to re-read what I’d already written and tweek the text until I had to force myself to move on to the next scene. And then I gave myself permission to write badly. This was incredibly freeing. Now, when I’m doing a first draft, I can write upwards of 20-25k words a week, knowing that I’m going to edit it like crazy once the first draft is done. They aren’t great words, sometimes they’re downright horrendous, but they come together to form a completed work.

Now, your process might be different. But ask yourself, is your book stalled because you keep going back to that one or two scenes that seem so pivotal but your inner editor keeps telling you it’s just not right and if you don’t fix it now the whole book will fail utterly?

Stop that.

A house builder doesn’t sit there working on the same bathroom for years because they can’t get the shower to the perfect dimensions. They have a whole house to build and if someone isn’t living in it, it has no purpose. The same goes for you. Don’t let a desire to write perfection stop you from finishing the book, because if no one reads it, it also has no purpose.

Once the first draft is done, then you can let your inner editor run amuck…somewhat.

I usually have to step away for a bit before diving in the editing/revision process, otherwise, I’m just polishing the punctuation. Some people go ahead and send it out to alpha readers to get feeback. You’re process should be whatever works for you, but the real key to editing your own work, I think, is honesty.

Yes, that scene in your epic fantasy between the hero and his pet parakeet makes you cry every time, but does it move your story forward? Yes, you skipped that escape scene in your adventure to get to the emotional angst, but is the reader still engaged? Yes, you left out the detailed description of your cyborgs in your SF because it slowed the pacing, but can the reader really understand your world?

They may be you and your critique group’s favorite scenes. They might be hard to write. But if the story and the reader isn’t served, be honest. You’re going to have to fix it. The nice thing is that you’ll probably like the result better.

It’s actually kind of funny how often I tell someone that a scene isn’t working, or the story is missing something, and they say, “Yeah, I was kind of thinking that, too.” If something doesn’t ring true, or a scene doesn’t seem right, don’t wait for someone to remind you of something you already know. This instinct might take some time figuring out on your own, but the only way you’re going to learn how to tell what works and what doesn’t, is to keep writing and reading your genre.

It’s all so much work, I know. But that the difference between a hobbiest and a professional: get the work done, then make it the best you possibly can.

Dare to be bad. Fix it later.

Networking: Friends with Benefits

Conventions Mary Pletsch The Writing Life No Comments

In October during Marketing and Promotion month, we had a great post on networking by Kim May. There’s a lot of great advice here on how networking can help you reach and connect with your readers.

This month, I’d like to focus on how to network with industry professionals.

Few of us are lucky enough to have people in the entertainment industry – and yes, writing and publishing are part of the entertainment industry – as part of our circle of family and friends growing up, but it is possible.  Ironically, one of my friends-who-is-also-a-published-author started out as the roommate of another friend I met through my toy collecting hobby.  Looking back, I laugh at some of our earlier meetings when neither of us had any idea of the other’s interest in writing.

But let’s assume you don’t have a contact like that.  I didn’t for many years.  How do you meet people who are working where you would like to be someday?

You can read blogs, join newsgroups, “like” Facebook pages, and/or follow Twitter feeds.  The best part about these venues is that even if you live in an isolated rural area, and can’t afford to travel, as long as you have Internet access, you’ve got all you need.

First, reading blogs etc will give you a feel for what it’s like to work as a professional writer / in the entertainment industry.  You may find it’s not for you.  Or, when you reach that point yourself, you will have some idea of what to expect.  I’m eternally grateful for the advice from a writer, who is now also a friend, who put on her blog the importance of turning around correspondence for publishers as quickly as possible.  They’re people too, they’re on deadlines too, and keeping them waiting and wondering if they are going to hear from you or not is an undesirable situation.   As someone who used to submit things on the day they were due–and never before–I realized that holding on to my finished submission until the due date wasn’t doing me any favours.  And I would never have realized that without this advice.  It’s invaluable, and it’s free.

Comment when you have something useful to say.  Over time, people will recognize your name and, if applicable, your avatar.  Remember, though, that reputations can be bad as well as good – keep the drama off someone else’s site, or you will be remembered for all the wrong reasons.

Conventions, seminars, launch parties and book signings are great in-person venues if you’re lucky enough to be able to travel or live near a city.  Authors and editors will give panels, readings, room parties, and book signings.  Attending panels and readings gives you conversation starters when you go to the parties and signings:  introduce yourself by name, then ask a question, comment on something, or give constructive feedback.  Don’t hog the person’s time – they’ll be meeting a lot of other people at the event.  At subsequent events, you can then re-introduce yourself (“we met at Ad Astra this past April”, “I came to your book signing last year in Toronto.”)  Faces become familiar very quickly.  And I’d be amiss if I didn’t mention Superstars Writing Seminars, where I received great advice from professional writers and also met a number of fellow newcomers just starting out in the field.  Look how far we’ve all come!

I’m very fortunate to have a friend who is a New York Times bestselling author–the person who first recommended Superstars to me, despite not being part of it herself.  It was her assurance that Superstars was worth the money and time that got me here today.  I’m not going to drop her name here, because the purpose of this post is not me showing off how special I am because of who I know.  I mention it to illustrate that unfortunately, the following paragraph contains advice that still needs to be shared:

Don’t expect professional authors to become your new best friends.  They’re busy people, on lots of deadlines.  They have private lives they aren’t going to share with people they’ve just met.  They are not going to drop everything to reply to you immediately, and they don’t owe you anything.  Be courteous, be respectful, be appreciative, and be professional.  These writers are active online and at conventions to connect with their audience and, if they are generous and have time, to share some insight on their profession.  You will not become friends with everyone you say hello to, and you will not stay friends (or even acquaintances) if your sole purpose of communicating is to “get stuff,” whether that “stuff” be attention, information, free swag, or “awesome inside sources”.   Treat industry professionals as people, not as means to your goals.

When you are at conventions, do attend public events (book signings, autograph sessions, panels, public room parties and launch parties).  Do not try to crash private functions (ie author-only parties), follow people into the restroom to strike up conversations, or loiter outside people’s hotel suites waiting to pounce on them.  As on the Internet, being loud, drunk, promiscuous, smelly, obnoxiously persistent or rude gives you the wrong reputation very quickly.  And remember that alcohol makes all sorts of things seem like A Good Idea At The Time.

As someone who rarely drinks alcohol in public I strongly recommend a glass of pop, soda or juice carried around a room party or nursed at a convention bar if you are a non-drinker or if you have reached your drinking limit.  People will think it is a drink (thereby saving yourself the need to constantly turn down offers of drinks) and you will both appear sociable and remain in control of how you are presenting yourself.  (I also note that if you are a non-drinker, after seven or eight Dr Peppers you will feel like bugs are crawling all over you, so go easy on the caffeine-as-alcohol-substitute.  Lessons from Ad Astra 2013–bad decisions made so you don’t have to!)

The best thing about networking is that it builds its own momentum.  Once you know one person, they will introduce you to other people.  Soon you’ll find yourself in contact with all kinds of people who are working in, or working towards, your chosen profession.

Beta Reading: The Book Report You Trick Your Friends and Family Into

Editing Gregory D. Little Rewriting The Writing Life 3 Comments

BETA_(capital_and_small)“Oh, you’re writing a book?  You have to let me read it when you’re done!”  If you’ve been writing long enough, you’ll probably have heard this a time or two.  Little do they know that a book needs beta readers.  But what is a beta reader and how can you shamelessly leverage their time and good will into making your manuscript the best it can be?

Because I am an engineer as well as a writer, I’m going to use the laziest possible analog for the technological age.  A beta reader is exactly like a video game beta tester.  They are the people that take your playable (readable) video game (manuscript) and play (read) through it, looking for bugs (terrible parts) so that you can fix them before they get seen by the general public/publishing industry.  Now, one quick point of clarification:  when I say “readable” I mean that the draft of your manuscript is complete with no missing parts that you haven’t gotten around to writing yet.  A beta reader should be reading your best attempt at a complete story draft.  Someone who is only reading incomplete chunks of your story is called an alpha reader, which is a subject for another post.

So who should you select for your beta readers?

1.  Above all, you need people who are willing to (very generously) grant you their valuable time to both read and provide feedback on your manuscript.  Because they are willing to do that, these people probably like you, which can actually be a problem. People that like you might not want to be brutally honest with you, so…

2.  You want beta readers who are willing to be honest with you (brutally or not).  If there’s a problem with your story, they are doing you no favors by holding back on it to spare your feelings.  And even if they believe they are being honest with you, they are probably still holding back subconsciously.   It’s understandable.  They’re excited for you!  You wrote a book, and they want to like it!  It’s just a general hazard with any beta reader that you need to keep in mind.

3.  You want beta readers to cover a wide spectrum of, well, everything.  As writers, it is tempting to wrangle only our writer friends to beta read.  Other writers are usually willing to “trade” beta reads of each other’s work, so convincing them can be easier.  Writers also understand what another writer needs in terms of feedback, so their feedback can be more constructive, incisive, and to the point.  But writers also love to over-analyze writing, and if you aren’t careful, you’ll end up with a story that only other writers will love.  So have writers beta read for you, but also pick beta readers who have nothing to do with writing, and even ones who don’t normally read the genre your story is in.  Non-fans of the genre will be the toughest sell, so you’ll get the harshest criticism, and if your writing can overcome that initial handicap, you’ll know you have something special on your hands.

So, now you’ve gotten your beta readers your manuscript and they are busily reading away.  What do you tell them regarding feedback?  Obviously everyone has a different style, but I always try to follow the following guidelines:

I DON’T: require my beta readers to give me feedback in a specific format or in a specific level of detail.  Rather, I ask them to provide feedback at whatever level they are comfortable based on their schedule and their preferred style of reading.  Some of them like to go so far as to line-edit your work (more so in short stories than in novels given the time commitment).  Some prefer simply to give general impressions (“I liked this part but didn’t understand when the character did this.  This detail confused me.  What was even happening here?”).  For me, the important part is that they don’t worry so much about the level of feedback that their experience of reading the story gets impacted.  Ideally you want them reading your story like anyone else would.

I DO: ask my readers to have the reading and feedback done by a certain (reasonable) date.  In my opinion it’s perfectly fair to do this as long as you explain it up front so that everyone’s on the same page (pun intended) and as long as you are willing to be flexible because obviously we all get busy.  But if you don’t assign some (again, reasonable) date you’ll find yourself waiting for months, unwilling/unable to do major edits until all your beta readers are finished.

I DON’T: let my beta readers talk to each other until they’ve talked to me.  I don’t want them to start cross-contaminating opinions.  Treat them like suspects in a crime (but much more politely) and request feedback separately from each.

So now you’ve got your feedback.  What do you do about it?

– Look for trends.  Does everybody think the main character is a big jerk?  Maybe that’s okay if that’s what you’re going for.  But does everybody think the main character is such a huge jerk that they would have stopped reading if not for the fact that they promised you they’d read your story?  That’s a problem.  Conversely, if everyone has a different problem with the same aspect of the story, but they all agree it’s a problem, you need to look at it again.  Don’t be afraid to follow up and ask for further clarification.  I’ve had instances where every reader but one  mentioned an aspect of the story that bothered them, and I specifically went back and asked that one person if plot point X bothered them at any point.

– Conversely, take complaints that only one person raises with a grain of salt.  I’ve heard it said that if nobody can agree on the issues your manuscript has, you’re doing all right because you’ve gotten it down to the realm of personal taste.  Everyone does have different tastes, after all, and they won’t all like every aspect of something you write, no matter how well it’s written.

– Lastly, remember that you, the author, have the final say.  Beta readers are offering recommendations, not ironclad must-haves.  The buck, or in this case the word, ultimately stops with you.

 

Working with Editors

Editing Frank Morin Publishing 3 Comments

Working With EditorsAs writers, we love to focus on writing, on creating that next great story.  It took me a while to realize that typing “The End” is only the completion of the first part of the process.  Once we finish that first draft, get the story out to beta readers, compile all the useful feedback, determine edits, and finish subsequent drafts, we finally have a story we feel rocks on all levels and is ready to go.

That’s when we need editors.

Some indie authors try to claim they don’t need an editor, but I’ve never seen any such story turn out well.  Not as well as it could have been.  Not as well as it should have been.  Not well enough to compete in today’s market with well-read readers who can spot an unedited story fast.

A book without an editor is like a theatrical production without dress rehearsal.  You’ve got the characters, the dialogue, costumes, and a setting, but the whole has not been polished to where an audience can enjoy it.

Why invest so much time in producing a book only to undermine the finished product?

Usually the reason is one of two things:  Time or Money.

Time:  with the internet making it so easy to get books available to readers, it is so incredibly tempting to skip the careful edit and just getting it out to readers faster.  Why wait when you could be selling copies already?  The truth is taking a little more time and polishing the story will result in far better reviews and far more copies sold.  I’ve started reading books that skimped on final polishing, and I was universally disappointed and usually threw the book away without finishing.

Money:  Editors are not free.  Yes, they’re an investment and authors need to find a way to cover that investment.  If you don’t believe in your story enough to make that investment, convinced you’ll sell more than enough copies to still profit, then how are your readers going to believe in it?

Then again, with avenues like Kickstarter available, it’s often now possible to raise the money to cover such costs up front instead of having to fork over all the cash yourself.  I plan to launch a Kickstarter campaign for one of my stories next year.

How do you find a good editor?  There are lots of editors out there, and just like anything else, there are good ones and bad ones.  Here’s where networking comes in.  Talk with other authors about editors they liked and ones they didn’t.  Good editors will provide a listing of stories they’ve edited, and that can provide great insight into whether or not they might be a good fit.

Once you find an editor, you’ve got to get on their schedule.  Good editors are sought after and usually their schedules are booked out weeks or even months.  Get on the list early, and don’t be late with your work.  If you miss your deadline, it may be a while before they can fit you in again.  If you see you’re going to be late, notify the editor as soon as possible to make it easier for them to rearrange their schedule with the least amount of disruption.

I worked with our own Joshua Essoe on the manuscript for Set In Stone, a YA Fantasy novel currently in the hands of my agent.  I realized I needed to make some significant changes to the manuscript prior to sending it in, so we had to reschedule a couple of times.  Joshua was very accommodating, but I tried to warn him far in advance, as soon as I realized I was going to be late.

That brings up another point:  make sure your book is really finished prior to hiring an editor.  If you’ve just completed your first draft, I’d recommend you take the time to have some beta readers finish it and compile their feedback.  It’s likely you’ll need to make some changes.  Go through it a couple more times to ensure it’s really where you want it, and that the book you wrote is really the book you thought you were writing.  Only then will you be able to maximize the benefit of an editor.   If they’re so busy giving you feedback on major structural issues with the work, it’ll be harder for them to help you really polish it.  And if you want to go back again to hire them for a second pass, that’s going to cost more since they now have to invest more time in the project.

Even when your book is DONE and ready to go, you’ve found the editor you think will be perfect for the work, and you’ve sent it off to them, there’s the question of style.  Some authors and editors just don’t see eye to eye on matters of style.  There’s no way I know of to completely protect yourself from running into a situation like this.

Working with Joshua, I was extremely pleased.  His comments were spot on, thoughtful, and insightful.  I agreed with his approach to editing, and almost universally applied his suggested changes.  With a different manuscript (also in the hands of my agent), I wasn’t quite so lucky.  The editor was very experienced and well respected in the industry, and much of their suggestions were beneficial.  However, we differed over some aspects of style.  At first this worried me, and I wondered which of us wasn’t getting it.  That’s where working with a second editor on a different work proved beneficial.  I could compare the two editors’ styles, and realized they approached the same questions sometimes from very different points of view, with very different resulting recommendations.

So I had to make very conscious decisions regarding my own style and how I wanted to apply tone and voice to each story.  I had made some of those decisions while writing, but hadn’t clearly defined it.  The editing process forced me to choose specific stylistic approaches in each story.  Only then could I see clearly which advice to accept and which to ignore.  In some cases, the editor didn’t understand the style, and gave bad advice.

Just like everything else, it’s a learning process, and I consider the funds spent on editing both manuscripts well worth the investment.

Take away:

  1.  Prior to engaging an editor, make sure the book is really done.
  2. Find an editor you feel you’ll be able to work well with.  Use advice from other authors, and do your research.
  3. Get on their schedule well in advance, and don’t be late with sending them the manuscript.
  4. Notify them early if you fear you’ll miss a deadline.
  5. Study their feedback carefully.  Some of it may not be right.  In the end, it’s your book and all decisions are your responsibility.
  6. Don’t ever release a novel without a professional edit.