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By: LAURIE WALLMARK,
on 11/7/2016
After you receive a critique or an editorial letter, put it aside for a cooling off period before you get to work.
https://querytracker.blogspot.com/2016/09/the-cooling-off-period-handling.html
By: LAURIE WALLMARK,
on 9/25/2016
Why is it so important to have someone else read your work-in-progress?
https://livibuglady.wordpress.com/2016/08/01/cps-and-why-you-need-them-meredith-ireland/
By: LAURIE WALLMARK,
on 8/29/2016
Here are some things to consider before agreeing to look at someone else's manuscript.
http://www.helpingwritersbecomeauthors.com/tips-for-editing-other-writers/
By: LAURIE WALLMARK,
on 8/28/2016
Here are some things to consider before agreeing to look at someone else's manuscript.
http://www.helpingwritersbecomeauthors.com/tips-for-editing-other-writers/
By: LAURIE WALLMARK,
on 8/13/2016
Whether your critiquing your own work or someone else's, this checklist will remind you of points you need to consider.
http://critiquemymanuscript.com/checklist-for-critiquing-a-novel/
By: LAURIE WALLMARK,
on 8/2/2016
How do you separate helpful feedback from that which you can ignore?
http://www.elawreads.com/blog/2015/3/5/navigating-the-forest-of-feedback-8-ways-to-recognize-helpful-criticism-and-how-to-ignore-the-rest
By: LAURIE WALLMARK,
on 12/2/2015
A negative critique, as hard as it is to hear, will help you improve your manuscript.
http://ingridsundberg.com/2015/08/24/what-to-do-when-you-get-a-negative-critique-of-your-writing/
By: E.C. Myers,
on 11/25/2015
Recently a friend asked me whether she should address the concerns of a beta reader who had clearly missed something in her novel that everyone else got. This started me thinking about the challenges in revising a story when you’ve received critiques from many different people, particularly when their comments contradict each other.
We’ve talked a lot at Publishing Crawl about revising your novel on your own and with editorial letters, but what about earlier in the process — maybe before your book even reaches agents or publishers? I am a big believer in beta readers and critique groups, and I participate in an amazing writing group. Almost every piece of fiction I have written has benefited from the sharp insights of other writers who tell me what’s working and what needs work, and call me out when I’m being lazy. If you’re fortunate, there will be a consensus, a clear sign to what you should focus on, but often there’s very different feedback from everyone, and it isn’t at all obvious who is “right” about your story. Now what?
First and foremost, it’s your story, so you have to follow your instincts. That said, you do have to be open to the possibility that you can make it even better by listening to suggestions you may not immediately agree with. And always remember that you can’t make everyone happy, but that isn’t the point; you’re trying to figure out how to make the story as good as it can be, which should also be the goal of your critiquers.
My record for critiques on a single piece is probably around twenty, for some of my short stories at the Clarion West Writers Workshop, which is where I developed my process for juggling feedback and planning a revision strategy. Whether I have seven or 17 critiques, my first step is to read through everyone’s comments and my notes from the crit session, jotting down the key points and organizing them into four categories:
Although here I’m focusing on what needs to be improved in the next draft, make sure you’re also noticing the good stuff, which can show you where your story is on the right track, as well as give you an ego boost that is likely sorely needed about now. This is the stuff you don’t want to break when you’re fiddling with everything around it — which can easily happen, especially if you’re trying to follow every suggestion you received.
Once you’ve listed everything out, categories 1 and 2 should give you a pretty clear idea of what changes to make in your revision; however, sometimes you will get two or more recommendations that are incompatible, and you have to choose one. Assuming you don’t want to settle for the fastest and easiest fix, you should consider what makes the most sense for your characters and their story, and what fits with the rest of the feedback you’ve received and strengthens what was already there.
You can also consider the source of the feedback: For example, if you’re writing a YA novel, you might weigh criticism from other YA writers or readers more heavily than feedback from someone who rarely reads YA or doesn’t enjoy it. (Their perspective is still valuable and probably shouldn’t be dismissed out of hand, but they may be unaware of some of the nuances of your particular genre.) Or certain readers “get” your work or connect with your story more than others, so they have a better idea of what you were trying to accomplish.
Once I have a sort of road map of the changes I want to make, I usually dive in and start editing from beginning to end, in a linear order, layering in changes as I go. Of course every edit ripples throughout the piece, so the more time I can spend focused on and immersing myself in the story, the better to keep it all in my head, and ultimately put it on the page. I’m also keeping in mind some of the criticism that I am less sure about, or even some of those “nopes,” because as the story changes, they might make more sense or I’ve become more receptive to them. As I change the story, I feel more free to take it wherever it needs to go. If I take it too far or it doesn’t work, I can always revert back to the previous draft!
When I first started revising this way, it sometimes felt like I was writing by committee, and I resisted taking too many suggestions from others. Whose story is this, anyway? But if you’re committed to telling it in the best possible way, so it will reach the most readers, getting lots of feedback from many different perspectives is incredibly helpful. Don’t forget that every reader is different — just look all those wildly differing reviews on Goodreads! (No, don’t.) In a way, they’re all correct, because reading is such a personal, unique experience. And so is writing. In the end, you decide what your story will be, and you’re the only person who can write it.
Everyone’s writing and revision process is also unique! So, how do you reconcile varying feedback from multiple readers?
By: LAURIE WALLMARK,
on 11/17/2015
Critiques of your manuscript are not always easy to hear, but they're a necessary part of the writing process.
http://writerscircle.com/how-to-take-feedback-and-trust-it-too/
By: LAURIE WALLMARK,
on 11/2/2015
A developmental editor looks at the big picture items in your story.
http://thisiswriting.com/what-is-a-developmental-editor/
By: LAURIE WALLMARK,
on 10/5/2015
A popular method of critiquing is the sandwich: what you liked about the text, what you think needs more work, and what you liked again.
http://www.childrenswritersguild.com/critique-group-sandwich/
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By: BookEnds, A Literary Agency,
on 8/11/2015
I agree that the material in this email can be posted and critiqued on the BookEnds Literary Agency blog. I give permission for it to be archived for the life of the blog.
By: BookEnds, A Literary Agency,
on 8/7/2015
I agree that the material in this email can be posted and critiqued on the BookEnds Literary Agency blog. I give permission for it to be archived for the life of the blog.
By: LAURIE WALLMARK,
on 8/5/2015
How to give criticism that will help both your fellow writers and their manuscripts.
http://www.nownovel.com/blog/give-constructive-criticism/
By: BookEnds, A Literary Agency,
on 8/4/2015
I did not like the word "carer" this is super picky and a little ridiculous (no query is judged on one word), but I had to read it twice since I thought you misspelled career. Caretaker?
My only suggestion is maybe to tighten this a bit.
By: BookEnds, A Literary Agency,
on 7/30/2015
I've been remiss in doing critiques. Primarily because, well, they aren't that much fun for me. That being said, I've noticed a definite need for them in my inbox and have been asked by a few of you if I'll continue them. I'm continuing them.
By: Darcy Pattison,
on 2/10/2015
I am scared to work on my WIP story right now.
Why?
Because someone I respect read the story and said that it’s working well, but I think I need to make one change–a pretty big one–to make it even stronger. But Critiquer said it was great, as is. If I mess with it, will it – well, mess it up? Or will messing with it make it stronger like I suspect?
This leaves me with a major question about the role of critiques. Basically, I get critiques to check how well I’m communicating. I don’t get critiques to see if my writing is any good (see this post on the good/bad question)
Good feedback includes a reader pointing out where they are confuse or where they lost interest.
Confusion, in early drafts, is often because my vision for the story isn’t solidified, which results in inconsistent portrayal of a character, or contradictory information.
“On page 11, you said Martha was mad, but when she meets Horace in page 15, she runs up and hugs him. Which is it? Mad or glad to see him?
Often, I want to say, “Both.”
But that doesn’t work, does it? If she is livid on page 11, she’d better show that fury on page 15. Else, why have her so mad on page 11?
Another inconsistency that escapes me in early drafts is points of fact or logic. In my WIP, the villain will use a drone to deliver something remotely. My idea about drones was that they are sort of airplane shaped, but the reviewer quickly sent me to YouTube to discover that they are more helicopter-like, but instead of one big blade on top, they have multiple rotating blades on top. Or at least, one current popular model looks like that. I could, of course, invent my own drone design for this story, but
Again, I don’t care if you call my story good or bad. But I do want to know where a typical reader loses interest. WHERE is the key question. Not WHY? As the author, I should be able to pinpoint the why. I just need to know WHERE. When you tell me where you lose interest, I’ll look and go through a mental list of things that could be happening: the prose is awful, nothing is happening, the characters are boring, etc.
I can revise to keep your attention by using better prose, pumping up the action, writing more active character descriptions, putting more at risk in the main character’s life and so on.
The biggest problem for me today, though, is the trap of critiques; or perhaps to sat it differently, the problem is that someone said my story is Good. Good is the enemy of Best, goes the old proverb. But it’s good. Someone–a reader I respect–said it’s good. Do I trust that, or do I listen to the itch in my storyteller’s sense that I need to tweak this one spot, which will improve pacing later, and create BETTER?
I’m scared of messing it up badly. Of course, I can keep a copy of BEFORE; but the revision will take a lot of small changes and it will be hard to get back to the original. Will I take a chance or not? And if I make these changes, but then realize that it didn’t turn out for the best, will I be willing to do the work to undo everything? Commit or not? Today, I’m scared to work.
It’s a typical day for an author.
Photo by Vicky Lorencen
You’ve seen the commercials. There’s a woman with limpity blahsville hair. Her shoulders, schlumpy. Her eyes, rolled. She blows a puff of air upward from her lower lip and ruffles her scruffy bangs–the universal breath of disgust. Then, some product whooshes onto the screen. It’s a bottle of glamorous, sexy-smelling hope for hair. Ms. Lackluster snatches the wunderproduct, suds it through her sorry locks and voila! Cue the fans to blow a mane so magnificent as to make Fabio throw in the towel.
What if there was a “product” that could do the same–give shine, volume and manageability–to your writing? Good news! There is. It’s called Critique Group.
Here’s how this amazing product works:
Shine. Nothing will give your writing that dazzling sheen you desire like a robust critique. Your group can help you snip those dry, split ends created by worn or useless verbiage, identify stronger verbs and methodically polish your work.
Volume. Receiving regular feedback on your work helps to fuel your momentum, which hopefully, results in higher word counts and more pages than you may have accumulated as a solo act. So luxurious!
Manageability. Critique groups, regardless of how you arrange them, typically come with a schedule for sharing your work. Knowing you have these deadlines can help you plan, set goals and make the whole writing process more aimful instead of aimless.
You say you don’t have a critique group of your very own? Instead of pulling out your hair, let’s find you a group ASAP.
Consider these ideas for either starting or connecting with an established group:
If you’re already in a group and have more ideas, tips for how to structure or improve a critique group, please share.
Wishing you gorgeous “hair” days ahead!
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By: LAURIE WALLMARK,
on 12/3/2014
Whether you're being paid or not, your critiques should always be professional.
http://www.noshovelshere.com/?p=607
By: JOANNA MARPLE,
on 9/3/2014
I’m back with another Wednesday series of interviews with published and unpublished illustrators whose work I admire. So prepare to be wowed by the skill and fascinated by their process and passions as we get a glimpse into their lives … Continue reading
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By: LAURIE WALLMARK,
on 8/18/2014
Are your critiques as helpful as they can be?
http://writersrumpus.com/2014/07/08/are-your-critiques-as-helpful-as-they-could-be/
Photo by Vicky Lorencen
See, even though writing by its nature is a solo sport, that doesn’t mean you can’t invite others to join your team. By others, I mean other writers who can give constructive criticism–aka stab you in the front, to hit you where it hurts most–right in your writing.
Losing weight, staying on track with an exercise regime, even cleaning out the garage, are all easier if you have at least one person to come alongside you support, encourage–maybe even push–you. Why should writing be any different? If you’re frustrated with your lack of progress, either in term of pages or improvement, consider opening yourself up to a good, ol’ fashioned front stab.
[At least] three things are certain:
1. Someone pushing you without your permission will only make you want to push back.
2. You need to ask someone to hold you accountable. Nobody volunteers for that job, but most people will say yes if you invite them, especially if you’re willing to reciprocate.
3. You will make better and faster progress with accountability and input, than you will without it.
This is why I am so grateful for my critique group. They’re a friendly bunch of front stabbers who want me to become a better writer and I’m happy to help them do the same.
If you feel stuck with your writing, let me encourage you seek out your own critique group (ask around on Facebook, via your SCBWI chapter list serve or your local library). If a group isn’t already in place, start one. And remember, you don’t have to let geography limit you. Online critique groups can work very well and can include writers from all over the planet, if you like. (I suggest keeping your group Earth-bound. Anything beyond that can get too complicated.) If joining/starting a group sounds like too long of a leap, consider partnering with another writer and setting up a regular schedule for exchanging pages.
Connecting with other writers for criticism and accountability will make a positive difference for you. I promise.
G’head. Take a stab at it.
Photo by Vicky Lorencen
My thanks to Ben Redmond, Director of Student Ministries at the Hub, for inspiring this post. He’s a wise man.
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By: LAURIE WALLMARK,
on 6/21/2014
What if you don't agree with your critiquer's comments?
http://www.shellicornelison.com/2014/06/celebrating-critique-comments-i-dont.html
Giving and receiving critiques on your writing is one of the most helpful and necessary parts of the process. I value my critique group beyond any other writing tools I have. They let me know what works and what doesn't, when something I thought was crystal clear is not, and when my characters are acting out of character. They offer encouragement and cheerleading.
Not only has constant critique made me a better writer, it has made me a more professional writer. When I receive notes from agents, editors, and other professionals, I am able to receive the notes with a professional calmness. I don't get defensive. I get revising.
I hope everyone who writes is able to find a group or a few trusted beta readers who can offer valuable critique, but I know that there are quite a few writers in our SCBWI region (Utah and southern Idaho) who may not even know any other writers in their community. Or perhaps they don't know how to get a group started. Or have never critiqued anyone else's work and feel inadequate.
If all it takes to sell a book is talent, work hard and perseverance, more of us would be published. Like it or not, luck is a piece of the process. But can you make your own luck? I think so. You just have to be willing to ask for it, compete, put out, flaunt a little and sell yourself.
1. Ask for it. Whenever I receive a manuscript critique from an editor or agent, I always end the conversation by asking if I can send him or her my manuscript. Pride is too pricey. Go ahead and pop the question the editor or agent is expecting you to ask. (And then make sure you follow through. Send that manuscript and mention the invitation in your cover letter.)
2. Put out. Sweetie, shyness is simply out of your price range. You really must interact with other writers and members of the publishing community via social media. Send cards. Build and cultivate a blog or web site. Comment on other’s blog posts. Be generous and offer your help to others in the form of critiques or feedback. Aside from surrounding yourself with a supportive community of talented people, you never know where those connections may lead.
3. Flaunt a little. Humility is pricey too. You’re going to have to loosen up and show off a little. An author/illustrator friend of mine, Ruth McNally Barshaw, was contacted by an agent after a friend encouraged her to share her sketches online. Ruth wasn’t looking to lure an agent, but posting her work resulted in the start of a fabulous partnership and the launch of her graphic novel series–Ellie McDoodle.
4. Be willing to compete. When was the last time you entered a writing contest? In 2012, I entered a contest sponsored by the National Association of Elementary School Principals. Did I win? Uh, noop. But my picture book manuscript placed in the top 5 out of more than 750 entries. Did that boost my confidence. Yes, indeedy. Children’s Writer and Highlights run themed contests regularly.
But don’t limit yourself to writing contests. If there’s a pricey conference you want to attend, chances are there’s a scholarship contest to go with it. I have had the privilege of receiving funds for both a regional and a national SCBWI conference, as well as for a Highlights Foundation Writers Workshop. And don’t assume you have to be penniless to apply. Check out the requirements to see if you qualify and go for it. Even if you don’t win, oftentimes filling out the application gives you great practice for a query letter or synopsis. So, it’s time well spent even if it doesn’t result in cash.
5. Sell yourself. Have that elevator pitch memorized. Be ready to talk intelligently about whatever you’re working on right now. Know how to introduce yourself as a professional–including a beautiful business card. Work it, Baby.
Make yourself some good luck this week!
Luck is what happens when preparation meets opportunity. ~ Seneca
You know, Hobbes, some days even my lucky rocket ship underpants don’t help. ~ Bill Watterson, Calvin & Hobbes
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