In Part 1, I talked about why we write and why receiving a critique can be so difficult and in Part 2 we discussed what a critique is.

I’ve seen critiques gone bad – so bad that when the author tried to incorporate everyone’s suggestions, he ruined his own story and in another instance, the writer gave up writing for a while. Sometimes it’s hard to find the right group of people or even one person, who understands that observations and comments that help strengthen your work do not need to include wholesale shredding,

So, how to avoid a critique disaster?

What you can do to prepare yourself:

1) The most important thing for you, the author, to remember is that the critique helps you to switch hats – from the creative to the editorial. Remember that creative ALWAYS needs editorial and creative is usually scared to death of editorial. That is why some authors put their stories away for a while before embarking on the editorial journey – to give their creative sides time away from the work so that they can approach the revision and editing process more objectively.

2) Submit your best work and understand what type of critique you are looking for: a reader’s critique, a line by line critique or both? A reader’s critique is one in which the reader tells you what is working and what isn’t, where she was engaged and what threw her out of the story. The points listed at the end of this article can help guide the reader on what to look for. A line by line critique happens when all the other elements of the story are working well and the manuscript is is reviewed for consistency in language, metaphors, grammar, excess wording, etc. Generally, good critiquers will not give you a line by line critique unless they know this is more than a first draft. They can tell that by how strongly your story holds together in terms of plot, consistency, style, character and setting. Only then will they focus on line-by-line edits to polish the story.

2) Understand that some people can’t help but shred, rewrite and go beyond what is asked for. Take what you need and leave the rest but for goodness sake, don’t take it personally! Have confidence in your work and move on. Know that you can’t and don’t have to use everyone’s suggestions.

3) Know you may disagree with someone’s comments but do not take issue or become defensive. Instead become curious as to why they made those comments. Was there a misunderstanding or misinterpretation of some sort? If so, the reason for the comments may need to be addressed. Sometimes a person’s comments may simply be wrong. They may offer bad or unwelcome suggestions or see problems where they don’t exist or miss existing problems. Ultimately, you must choose the feedback that works for you.

4) Understand who is critiquing. Not everyone may be familiar with the nuances of the genre you are writing in or the age level you are targeting and that may pose problems. Short story writers and novelists may have different views on pacing, description, speed of character or plot development. You need to understand the person who is responding to your work to give their comments appropriate context.

5) Above all, be respectful and gracious. This person took time from their other activities to help you.

What you can do to prepare others:

1) Tell them what stage this is in. First draft? Final draft needing polishing before submission? This should include information about the intended market such as Writers of the Future submission, YA novel, adult historical fantasy, etc.

2) Be clear about what you are looking for – first draft I always ask for a reader’s critique. What is working? What keeps you in the story? What isn’t working? What throws you out? Do the character’s actions ring true?

3) It’s good to tell others where you have concerns. For example, 1) I’ve rewritten the beginning several times and am not happy with it. What’s working or not working? Is this the right place to start the story? 2) Does the science make sense? Is the world I’ve created consistent and credible?

Here are some points used by writers and in critique groups that I belong to. Use them to help focus the questions you want answered, or if you’re looking at someone’s work, use them as guidelines of things to look for. Some will use this as a template, while others may only touch upon pertinent points.

General impressions: An overview of what worked and what didn’t; critiquer’s theory of theme, premise & plot summary; first impressions on title, emotional response, stumbles, questions and expectations; if the story is satisfying; and how well does the title work?

Plot:
It the problem clearly stated?
Is there a full story arc?
Does the opening/hook work?
Is there rising action & a climax?
Is the resolution complete?
Did something change?
Are there plot holes?
Does each scene work?
Is there appropriate revelation throughout the story?

Consistency:
Are there places where suspension of disbelief fails?
Is the internal logic consistent?
Does the narrative flow with proper pacing, rhythm?
Is there sufficient conflict (of all types)?

Style:
Is the style of writing appropriate?
Is an appropriate narrative tone used?
Is dialogue stilted or otherwise out-of-place?
Is there a proper balance of narrative and dialogue?
Is there appropriate narrative tension?
Is Point of View consistent? The best choice or mix?
Is tense consistent?

Character:
Sufficiently developed & distinct?
Do they speak with distinct voices?
Do they change?
Do they have believable motivations & behaviors?
Are there too many characters?
Do they have appropriate names?
Do they have strengths & weaknesses?
Are the interesting?
Is at least one character sympathetic?

Setting:
Is it complete or full of holes?
If a character, is it fully developed?

Technique summary:
Are there technical problems? (its vs it’s?)

Remember that the purpose of the critique is to help us polish the gem of our story until it sparkles in its brilliance. So, keep your eye on the prize, have confidence in what you’re doing, revise, polish and above all, submit your work!

Editors: Freelance v. In-house

April 15, 2013

fictorians

Editing Guest Posts Publishing The Writing Life 1 Comment

I’ve had an opportunity to work with both an amazing freelance editor, Joshua Essoe, as well as an in-house editing team for the boutique publisher, The Writer’s Coffee Shop (of 50 Shades of Grey fame). Beyond my own experience, there are still a myriad of relationships depending on the size of the publishing house and skill of the freelancer, but I wanted to share my experiences with each to let authors know what they might be able to expect.

One of the biggest differences is the number of passes on a single work. When I hire a freelancer, money is a big part of the amount of time he can spend on my work. Unfortunately, my checkbook will only allow him one pass, so he has to hit everything in one sitting-plot issues, line editing, copy editing-the whole shebang. When I send it to my in-house team, money is still a factor, but now it’s on their side as to how many passes they can afford in overhead.

For my first book, the initial in-house edit focused on the overarching plot. I sent in a polished manuscript and after a couple weeks, I received a 10-page evaluation addressing suggested plot changes, crutch words, character inconsistencies, etc. I then had a few weeks to fix the issues and send the revised manuscript back. My freelancer addresses the same things as that evaluation, but he tackles his evaluation and in-line comments about my misspelled words and comma misuse, at the same time.

After that content edit, the house editors send me the line edit. From here, my in-house editor and I will work for a few weeks passing the manuscript back and forth until we get a clean copy (for me, 10 passes total). Then my copy editor gets to take a pass (I’m lucky in that I have a fantastic copy editor and she doesn’t hack my stuff to death–I’ve heard horror stories where sometimes the copy edit is worse than the line edits) and we work to get another clean copy (4-6 passes). Then a final proofreader gets to take a fresh look and be a final set of eyes, more passing around (2-3), and I sign off on a final copy.

Beyond the three editors working on the manuscript, there are also the other departments to consider, as well as the other books the house is launching. All those people and factors can play a part in the book’s final form.

But really, besides the amount of time and hands that touch the manuscript when comparing freelancers to in-house editors, everything else is the incredibly similar.

The good, the bad, and the horrifically disfigured.

However, and this is a big one — Not all freelancers are created equal and anyone can start a publishing company these days, so it’s incredibly important to do a huge amount of homework no matter which path to publication.

My pursuit of TWCS wasn’t accidental. Random House had just
paid seven figures for the rights to 50 Shades of Grey and the Greyson_evy_dark new adult genre was on the rise, in part due to the college age of the main character. My characters haven’t quite fit anywhere other than new adult, and I wanted a smaller publisher willing to go to bat for me and my characters without trying to force them into a different genre (like every other agent and editor I sent it to). TWCS had first-hand experience of launching a mega-hit and I wanted to take advantage of all that in marketing my book, Lightning Rider.

My decision to hire Joshua was just as purposeful. He’d already edited work for NYTBSA, David Farland, and other fantasy authors. Finding a freelance editor is easy-finding a GREAT one is tough. Before spending money on an editor, it’s always wise to ask for them to review a few pages and see if their style matches. Research the genres they work on and find one that works on what you write. Readers have very specific expectations whether they’re reading fantasy or romance or thrillers. If the freelance editor doesn’t know what those expectations are, you may end waste a lot of time and money.

Not all edits are created equal.

Whether I’m working with a freelance editor or my in-house editor, one thing remains the same. I’m the only one who can tell the tale. It’s up to me to make sure my characters are represented on the page like they are in my head. I know best how they react in certain situations, what their voices sound like, and I get to fight for them to make sure their story is told in the best way possible.

Both my freelance editor and my in-house editor have suggested changes that I didn’t agree with. Most of the time I can see where suggestions make a better story, or when grammar rules takes precedence, but sometimes . . . sometimes there are places where I’m unwilling to bend because I know where the story goes beyond this book, or when a simple word change in a bit of dialogue changes the tone so it’s no longer that character’s voice. I know where the story started a decade ago when these characters were children and their backstory took a major hit.

Sometimes, knowing when to ignore advice is as important as taking it.

From the moment she decided on a degree in Equestrian Studies, Jen Greyson’s life has been one unscripted adventure after another. Leaving the cowboy state of Wyoming to train show horses in France, Switzerland, and Germany, she’s lived life without much of a plan, but always a book in her suitcase. Now a wife and mom to two young boys, she relies on her adventurous, passionate characters to be the risk- takers. Jen also writes university courses and corporate training material when she’s not enjoying the wilds of the west via wakeboard or snowmobile.Her debut new adult fantasy, Lightning Rider, releases from The Writers Coffee Shop on May 31, 2013.

Collaborative Projects: How to Write Well with Others

April 12, 2013

David Carrico

Authorial Trust Craft & Skills Editing First Drafts Ideas & Plotting Outlines Rewriting Storyline The Writing Process 1 Comment

I have written and sold one collaborative novel, and I’m in the middle of writing another, so I have some experience in this sub-specialty of our craft.

Once you’ve gotten past the “Let’s write a novel together! It’ll be fun/great/a ball!” stage, reality sets in. First of all, forget the idea that it will be less work. It will take more time and energy total between the two of you to write something than it would if one of you wrote it solo. You’ll be fortunate if it only takes 150% as much time and energy as a solo work. Second, this will be different from writing a solo work. Trust me. Here are some of the practical matters you will need to deal with. Some of the points are my own observations, and some are gleaned from other authors who do frequent collaborations.

1. Check your egos at the door. Really. You are establishing a relationship here, and although you may or may not be equals in talent, knowledge, skill, and drive, you need to be on a personal basis of honesty, diligence, and compassion. The old teaching of “Treat others the way you want them to treat you” comes into play.

2. Determine your collaboration approach. To steal from my May 28, 2012 Fictorians article “Anatomy of a Collaboration,” you need to settle on an approach like one of these:

If sections of the novel require certain knowledge or expertise, one author may write those parts while the other writes the remainder. This approach seems to be most commonly used when both authors are of similar levels of skill.
More commonly, one author will write the first draft, while the other author will do the second pass. If one author is newer to the craft, he will usually write the first draft while the more experienced/skilled writer will do the final polish/draft.
And sometimes one author will look at another and say, “You start,” and the story is built somewhat like a tennis match, with no prior planning to speak of and the authors volleying responses back and forth. A lot of “letter” stories are actually written that way.

This step is where you agree on how the byline will be styled. If it’s a senior/junior relationship, the senior author’s name almost always goes first. This is also where you agree on how the revenue (and any expenses) will be shared. And even if you’re friends, write it down. It will save grief later, I promise.

3. Decide who the tie-breaker will be. If you arrive at a point where the two of you are in disagreement about something serious and you can’t continue until it is resolved, someone has to break the tie. Determine who that person is at the beginning of the project. It may be a senior author. Or, if you’re writing in a universe created by one of you alone, then that person will probably be the tie-breaker. But regardless of who it is and how you determined who it will be, if it ever has to be invoked, remember Rule 1 – check your egos at the door.

4. Do any world-building that has to be done that will be foundational to the story.

5. If both of you are outliners, you’ll need to write an outline. If one of you is a pantser, you’ll need to write an outline. If both of you are pantsers, you’ll really need to write an outline. Seriously. If for no other reason than to keep you both facing the same direction. Especially if you’re doing the “you write this part and I’ll write that part at the same time” thing.

6. Communicate, communicate, communicate. Especially about the important stuff, but since it may be difficult to know what will be important twenty chapters down the line, it’s mostly going to be important stuff.

7. Again, communicate, communicate, communicate. If you’re the junior author or you’re working in someone else’s universe, don’t be afraid to ask questions. And if you’re the senior author and/or the universe creator, don’t brush your partner off.

8. Remember Rule 1.

9. For the third time, communicate, communicate, communicate. If there’s one area where collaborations can really be more difficult than solo work, it’s flexibility in dealing with change. When you’re working on your own, if you get a brilliant idea when you’re 80% done with the work, backing up and rewriting twenty chapters is not so much of a much. When you’re collaborating, however, especially if you’re using one of the parallel streams-of-creation methods, your idea may blow up your partner’s work in a big way. So before you do anything with your Grand New Idea, talk about it-in-depth and in detail. If the decision is Do It, you revise the outline. You write it down so you can both be in agreement as to what the change is, what the effect is, and who’s doing what to implement it. If the decision is No, you continue down the existing path with no looking back.

10. Remember Rule 1.

11. Set deadlines as to when milestones will be accomplished. You may or may not attain them, but if you don’t set them, this thing could drag on for a seeming eternity. As much as possible, hold each other accountable.

12. Remember Rule 1.

13. When the first draft is done, review it together. Decide what needs fixing, and determine who will do it. Execute the fixes.

14. Determine early on who will do the final polish to smooth out the edges and establish a consistent voice. This will usually be the senior author, the writer who owns the universe, the person who’s the better editor, or whoever won/lost the coin flip.

15. And finally, remember Rule 1.

Okay, that’s probably not everything that needs to be thought about, but it covers the high points. Good luck!

Dos and Don’ts of Working with an Editor

April 11, 2013

fictorians

Editing Guest Posts The Writing Life 1 Comment

There are many things an indie writer needs to consider when looking for an editor. Is the editor capable of providing you with the service you need: content, line, or copy editing? Does the editor have reputable references? Based on the sample, does the editor’s style suit your own? Can you afford the editor’s service?

I think every writer needs to carefully consider each of the above questions during the selection process. Though this topic is crucial to every writer, it is one that has been beaten to death. So, I thought I would discuss what I feel every writer needs to consider after the selection process is complete. Below are my top Dos and Don’ts when working with an editor.

Dos:

Do agree to terms ahead of time.

Be clear on expectations before work begins.

Do you want only that content edit or were you also expecting a copy edit as well?

Do you want the editor to provide a second round of edits in order to proof read your work after you’ve made the previous suggestions provided to you?

Do you need the editor to help you with writing the back cover, marketing materials, a press release, and text for your website?

Most editors probably won’t do all of the above but some might if you’ve discussed the scope of work ahead of time. Don’t expect an editor to provide extra services (no matter how little) for free after the agreed upon work is completed. Their time is valuable and they have other clients besides you.

Do meet your deadlines.

As I said, you are not your editor’s only client. The time to schedule an editor is when your book is nearly complete, especially if you’re writing your first book.

Find out what your editor’s schedule is like and how long they think it will take to edit the book, and then plan accordingly. It is not unreasonable to wait weeks or months before an editor can start on your book. Expect the overall editing process to take several weeks or longer once the editor begins work. Variations will exist based on the length of the book, how good of a writer you are, and how many projects the editor works on at once.

As a side note, after you’ve had some experience in completing projects it will be easier to schedule an editor before actual completion. Even then, I’d recommend giving yourself several weeks or even months of cushion. It is much nicer knowing you’ve finished early and can get ahead on your next project rather than scrambling to complete something at the last minute and turning in shoddy work.

Do ask for clarification.

Any editor worth their salt will clarify questions you might have on their suggestions. Otherwise, how can you determine if it is a valid change? If an editor is unwilling to communicate with you in this way after giving you the manuscript back, I’d question using that person again.

Do be prompt with payment.

But what happens if it costs more than I originally expected? Too bad.

If you go to a car dealership and they give you an estimate for a brake job that later increases by several hundred dollars because things were worse than expected, can you get away with not paying them? Of course not. Can you imagine if your boss decided not to pay you promptly or not at all, and how that would affect your life?

For some editors, this might be their only source of income. Therefore, don’t be late with their money.

If you decide their services were overpriced and not what you expected then the only thing you can do is not use them for future work.

Do remember that a suggestion for change is not a demand for one.

As the writer, this is your story. You need to be satisfied with it more than anyone else. Make changes only if you agree it improves the quality of the work. If you can’t make that decision on your own, bring in someone else to give you a second opinion.

I rarely disagree with my editor, but there have been a few times I decided against making his suggested changes. This is partly because I had received differing opinions from my beta-readers and partly because the change would affect later parts of the story in works he had not yet edited.

Don’ts

Don’t hand over a mess.

Your editor should not be the first person to read your manuscript besides yourself. Employ both alpha and beta-readers. They will help you smooth out many problems long before your editor gets a hold of your story, especially in the way of content. If nothing else, this step will help reduce the costs to you. The more time your editor spends cleaning up your mess, the more they will charge.

Don’t expect your editor to do all the work.

Your editor shouldn’t have to re-write your book. They will rewrite sentences as needed, but they aren’t supposed to write chapters or sections for you (unless you’ve agreed they will act as a ghost writer).

Don’t take it personally.

This is all a learning experience and a way to make you a better writer. I’ve improved significantly with each work I’ve turned into my editor, and a contributing factor to my improvement has been his feedback on each story.

Remember, an editor’s reputation will be held against the quality of your work as well. You don’t want an editor to blow smoke up your rear. You want an editor to be honest about what is good and what isn’t so your story and characters can shine.

Don’t be a jerk to your editor.

Like everything else in life, be professional. If I really have to explain what this means then you probably have bigger problems to worry about than everything I’ve mentioned above.

Don’t lose sight of your ultimate goal.

You want a great book!

Joshua P. Simon is a Christian, husband, father, CPA, fantasy author, and heavy metal junkie. He currently resides in Atlanta, Georgia and hopes that one day he can leave the life of a CPA behind and devote that time to writing more of the ideas bouncing around his ADD-addled brain. You can find out more about him at www.joshuapsimon.blogspot.com.