Learning through Editing

I don't remember exactly why I joined Hatrack. I think it was because I had a story to send out, and I had the vague impression that I should get feedback on it in order to help myself get published. And I picked Hatrack because Orson Scott Card ('nuff said). But that turned out to be the single smartest decision I made for my development as a writer, because it introduced me to a wonderful community of writers – and because it taught me how much you can learn by editing/reading someone else's work.

Specifically, though, I want to talk about the type of editing that puts me on the other side of the writer/publisher relationship – my time as a Managing Editor at Flash Fiction Online. It constantly amazes me how much I learn from reading, and from the discussions our staff has about what stories to publish. That time – known as winnowing – is everyone's favorite. We argue. We cajole. We learn how to present detailed arguments to support why a story should be published.

And so, here are some of the main things I've learned from being an editor. None of these are particularly mind-blowing. So maybe I should say, here are some of the common pieces of advice that editing has helped me to understand the rationale behind them.

1. Pretty words are not a story

This is the newest, and one of the hardest things I've had to learn. Some of my favorite books (Heart of Darkness, The Last Unicorn, everything by Patricia McKillip) have gorgeous, lyrical prose. But increasingly I find myself frustrated at the word salad I have to slog through in order to get to the heart of a story. I still love imagery and pretty language, but sometimes I wish people would put away the thesaurus and tell the story in simple, plain terms.

In my own writing, I'm still trying to figure out the line. I don't think I'm going to stop using imagery, but I'm certainly going to be more ruthless about how much I let myself keep in the final drafts.

2. Emotional honesty is a rare and precious thing

One of my slushers has been complaining lately about the number of stories featuring difficult situations faced by wide-eyed children. It's something we see often – where the writer has gone for the biggest emotional punch possible. Sort of like, "It'd be sad if the main character had cancer, but it would be EVEN SADDER if he got the cancer while rescuing puppies from communists!" (You see this type of thing in anime all the time too – all the characters have to have a horrifically tragic backstory). The instinct is understandable. Emotion is what attaches us to the stories we read. However, I'm beginning to think that it's not the amount of the emotion that matters. Rather, it's the truth of that emotion, and how well the writer projects it.

This one is harder to apply to my own writing. As it is, I worry I have something of a tendency toward melodrama. I think it also has to do with the delicate balance between showing, and making sure the emotion comes across.

3. There are no new ideas – and that's okay

We see patterns of stories. Sometimes it's more obvious where they come from – I think it was about a year ago that someone must have had a Red Riding Hood anthology. I got very tired of those stories quickly. There are other phases that have less obvious of a rationale. I'm very glad we are out of the 'Husband randomly kills nagging wife' or vice-versa phase. Right now, serial killers are more popular than ever. And don't talk to me about second person POV.

The problem is, it's hard to set hard and firm rules about what stories or trends I hate. Because every time I do so, someone comes along with an exception to the rule, and I have to shut my mouth all over again. In my opinion, what separates out the good stories from the thousands of similar ones is connected to #2: emotional honesty. Sheer originality is a good thing too, but an old idea well-told can be a glorious thing.

This is the easiest one to follow: write what you want, as long as you believe in it.

Should Unpublished Writers Offer Advice

Picture from wikimedia

 I’m borrowing a topic from Hatrack River Workshop, as I frequently do.  A discussion that started out as writing research turned into a heated debate on whether unpublished aspiring writers should give and get critiques/writing advice from each other.  I understand the arguments against trusting advice from unpublished writers.  They have no credentials or proof that they know what they are doing, and there is some concern of the blind leading the blind.  It is hard to determine if someone really knows what they are talking about when they don’t have anything to back them up.   But it’s not any easier sorting through all of the professional advice from editors and published writers either.  There is so much writing advice out there and so much of it contradicts each other.  So even if an aspiring writer only sought out writing advice from published writers and legitimate editors, he/she could still be going in circles.

The problem with writing stories is that there is no right way of doing things.  There are as many paths as there are writers, and every single path will be viable for someone.  And while I do believe we should study the craft and soak up as much information as we can, the truth is that we kind of have to figure out most of it on our own.  Don’t get me wrong, I’m not suggesting that we have to reinvent the wheel.  But someone can give us the tools and tell us how to make a wheel, even draw a diagram, but the only real way to learn how to do it is to do it.

I think that sorting through the writing advice is a lot like sorting through all the parenting advice out there (I’ve touched on this on an early post, but I’m going to go into more depth here).

When I had my first baby, I read about four books on parenting and a ton of articles and blog posts on the internet, all written by professionals with impressive credentials.  So much of it was contradictory.  Put your baby on a schedule vs. follow your baby’s lead.  Baby should sleep with the parents vs. get the baby out of your bed or he/she will stay until he/she goes away to college, etc.  I had to pick and choose the advice that made the most sense to me, that fit my personality and the baby’s.

But sorting through the advice was so much easier than implementing it.  No matter how many fabulous examples the books gave, none of them fit my situation perfectly.  I was constantly tweaking and adapting the advice to fit my unique situation.  It was hard and involved failing at times, but no one can really tell you how to parent any more than anyone can tell you how to write.  It all comes from trial and error.

I realize that none of this directly addresses unpublished writers giving advice, so let’s get to that.  In keeping with parenting theme, I see unpublished writers as other new parents.  Having some good, solid friends who are in the same place as you in writing or parenting is like gold.  A lot of it is support, but sometimes just talking through your problems with them can help you see what you need to do.  And sometimes they can give you the best advice because they are right there with you and can understand where you are coming from better than any seasoned professional.   

Since you have to use your brain to sort through all that professional writing advice, I don’t see why you can’t also sort through the advice given by unpublished writers.   And who knows how many of those unpublished writers are on the verge of being published. 

Of course we shouldn’t blindly follow them, but then I believe we shouldn’t blindly follow anyone.  Each of us is unique, and we all have to find our own path.

~MaryAnn

How to Find an Awesome Beta

I’ve been going over my critiques that I’ve gotten on my novel I’m trying to get ready to query, and I am so amazed at how insightful and brilliant these suggestions are.  Really, how can anyone do this writing thing without some brilliant critiquers (is that a word)?

I think it is important to find the right people to be your readers especially if you want them to read an entire novel.  That’s a lot of work and time for a person to give to you, and if they aren’t helpful, then you’ve only wasted theirs and your time.  And I’m not saying that you need to find someone who only showers you with praise or only makes suggestions you agree with or that you are obligated to use all of their advice, only that you need to find someone who understands what kind of story you are trying to tell and can see where it is and isn’t working. 

Here are a few things to look for in a critique partner

1.       Someone who is your target audience.  This is really important because if the critiquer doesn’t even like the genre you’re writing or understand it, they may be giving you the wrong advice.  They may not understand the conventions of the genre or try to push your story in a direction that it shouldn’t go.  You need someone who would very likely pick up your book in the bookstore. 

2.      Someone who reads.  Sheena did a post on that mythical creature, a writer who doesn’t read, which was hilarious, and I am sure there are some shiny exceptions, but I think it is safe to say that someone who doesn’t read wouldn’t make a good critiquer.  Movies and novels do have a lot of story-telling similarities, but there are a lot of differences too.  You are better off with someone who knows how novels work.

 3.  Someone who is honest even when it hurts.  Honesty really is the best policy.  I don’t think I need to say more.

4.   Someone who is encouraging.  Yes it is great to have someone so insightful that they can tear your story to shreds and give you amazing ideas to rebuild it, but if they don’t send you home with a lollipop or two to help nurse those wounds, I think they can discourage you from continuing on.  I’m not asking for someone to just sing praises, but they should be able and willing to point out the good along with the bad.

So how do you find a beta reader who fits all of these requirements?

This is how I found my amazing critiquers.

1.    Become a fan of an aspiring writer.  I’ve spent a lot of time reading snippets of writing on the writing forum Hatrack River.  There were several writers who always impressed me.  I always found myself wanting to read more of what they wrote.  I kept my eye on these writers, and whenever they asked for a critique, I’d volunteer.  I know there was a selfish, self-serving motive behind it even though I really did want to read their stories.  I did hope that at some point they would be willing to swap manuscripts with me.  My thinking was that if I was their intended audience then they might be mine.   And it worked.  I managed to get Sheena to be my first official beta reader (or maybe she was an alpha), and she was an awesome critiquer, and her insights were invaluable.   So Sheena, I may be your first official fan/stalker.  Online only.  :)

2.  Go fishing in a critique group (online or in person).  I joined an online critique group on Absolute Write.  It is still going strong today even though I’m no longer participating.  It was a lot of work, but way worth it.  I just don’t have that time to put into it anymore.  But it was a great place to test out beta readers.  I got to read a little sampling of what they wrote and how they critiqued, and then I sent out encouraging e-mails just to test the waters to see if they were receptive.  And that is how I found Sarah.  :)  She gave my submission a very thorough and insightful critique, and then blew me away with her submission.  But I’m not sure if I’m Sarah’s first official fan because everyone in that crit group loved her writing, but I’m going to name myself the president.

 3.   Just get involved and have fun.  Hatrack River is a great forum.  They have lots of contests (opening hooks, short stories, novel openings, etc).  If you get involved, you can get to know the other aspiring writers and their writing.  It is a great way to find writers to stalk, I mean admire.  I’ve got a couple future potential beta’s in my crosshairs from this. You know who you are, well, at least some of you do.

4.  Don’t forget to look close to home.    I’ve heard the advice of not using your friends and family as beta readers because they will only praise you.  Well, that is not always the case.  I have some pretty smart and well-read sisters who aren’t afraid to be honest with me as well as an amazing husband.  In some ways, they are tougher on me than any “stranger” has been.  So if there are people in your personal life that like to read the kind of books that you are writing, it may not hurt to ask them to beta for you.

I feel a little evil and self-serving in the post.  Yes, Melanie, that is how I can write villains (I’m half-evil).  I really think you should just relax and get involved in writers’ forums and don’t worry about finding a beta.  You can learn a ton and have a lot of fun.  But if you keep your eyes open, you may be as lucky as I was, and get a few amazing beta readers while you’re at it.

Thanks guys for everything.  You really are the best.  :)

~MaryAnn

Sometimes It's Just a Book

After only a little time in the business, writers, of necessity, acquire a critical eye. We learn how things should be done (and I absolutely, completely agree with MaryAnn on this), we pore over our manuscripts, scrubbing and polishing, and we critique others' works.

These are all excellent things. They teach us our craft and move us forward in our abilities.

I learned a little something, though, coming back from my vacation.

You see, for part of the drive, we listened to a book on audio tape. It was competently written, but not exceptional. I could have picked it apart, in fact, I did at the start. But then I heard my kids in the back seat - or, I didn't hear them - no fighting, no complaining, just snickers and snorts and hoots. My husband joined in. And I found myself forgetting the minutiae of the craft and enjoying the ride.

I realized as I pulled the last CD from the player at the end of that outrageous tale that sometimes it's okay if a book is just a book.
Sometimes it's fine to take off the critiquer's hat.
In fact, I think it's a healthy, necessary part of writing.

Which brings me to zombies.

My son, like me, has picked up a voracious appetite for reading (thank you Summer Teen Reading Program and your many fabulous prizes!)
My son, unlike me, loves zombies. (He's also picked up the writing bug and is 95 pages into the most epic zombie adventure story ever - way to go, son!)

He bought this book for the trip, Dead Reckoning, and at first I hardly paid attention to it until I noticed it was glued to his face pretty much constantly. Then I noticed it was by Mercedes Lackey and Rosemary Edghill.

Hmm...

When he put it down to get a snack, I picked it up.

Zombie Steampunk Western? 

Oh, yeah, baby!

Soon there were two bookmarks in the pages and we were coming up with ways to snitch it from each other. His favorite sarcastic phrase during our trip, "Really, Mom?"

I could say it's a straightforward tale. I could say it has more than a few cliches. I could say... I could say...

But I won't. Because me, the person, loved it. And me, the mom, loved that my son loved it.

And that's why sometimes it's okay to let go and just let a book be a book.

King Kong, Cowbirds and Teen Critiques

I'm dipping into my archives for this post tonight. I got caught up today with some traumatic doctors appointments (everything's fine), homework help, meals, general exhaustion and then a family bonding movie of King Kong - the original 1933 version. As my son said, "How long could girls scream back then?" (I will say, for the time period I'm pretty impressed by the special effects and sets.)

But this post, unfortunately, doesn't have much to do with King Kong.

It does have to do with my son's comments, though. You see, I have two bona fide teens living under my roof, and they have some pretty strong opinions about things. I always imagined that having a teen or two on tap would be a fabulous thing for a YA writer like me. There'd always be someone to try out my novels on and get their thoughts, right? Right?

Not so fast

My kids know I spend way too much time living in my head. But it doesn't necessarily mean they want to share the gray matter space with me. They know to repeat themselves several times for requests, or better yet, write it on a sticky note and paste it to my computer screen. They know my eyes may be focused on their faces but I'll really be rehashing some scene from my book. 

Cute Cowbird - Not  (berkley.edu)

Sometimes I wonder if my writing is the cowbird of our family. You know, the egg that's laid in a cute little songbirds nest, only to hatch into a huge, ugly bird that kicks its step-siblings out and hogs all of the parent's time and resources? Maybe it is resentment that causes my kids to turn up their noses when I want to share a part of my 'fabulous' book, but more likely it's just the age.

Teens can be fickle creatures. Hard to please. But, those very things that can drive me bonkers most of the time are some of the best qualities in a YA critiquer. After all, don't we want the cold hard truth if our work will connect with its target audience?  I do. So here are a couple tricks I employ when I want to know what my teens think.

Catch them unawares

The easiest method I've found to turn a teen into an unwitting critiquer is to wait until they're relaxed, but not otherwise engaged in any electronics (I know, it's a rare occasion). Then I start reading out loud. As soon as they roll their eyes, fidget, or otherwise leave mentally or physically, I know I've lost them. More often than once it's happened during the first paragraph. But the few times they've listened for a whole chapter, I knew I was on to something.

Bribery

Yes, I'm not above paying for my teen's critiquing prowess. But, if I'm giving (whether it's screen time, sugar or something else), they have to give a little extra back, too.

One way to get a more in depth critique and still make it easy for them is a simplified version of a critique list. It's in a format any kid would probably recognize. I usually create a bookmark and ask my teen to simply write the 'grade' next to a section they notice a problem with.
  

A – Awesome, amazing, aw yeah – This is good.

B – Bored – Really just not that into this. Too long. When does the action start?

C – Confused – What just happened there? Who did what, now?

D – Dumb – That would never happen. They would never do that. I don’t believe it.

And lastly, I ask them to draw a line where they would have put the story down if they didn’t have to keep reading to get their bribe, er, reward (this might be the most important step because it lets me know when the story really goes off the rails). That’s it.

A warning, though, use your teens sparingly. They won’t want to read the fifteenth reincarnation of the same scene. If you have enough teens around, use a different lot for the first draft and the one you hope is the final draft (don’t be afraid to mortify your kids, younger siblings or neighbors by asking who their friends are - and can you borrow them?). It’s always good to have a fresh set of eyes on your work. 

So there you have it. Having feedback is invaluable, and getting it fairly painlessly from your target audience, even better. I think these methods can work nearly as well on younger kids and spouses, too. What things have you done to get your work critiqued?

~ Susan