3 Tips when Asking for Feedback

Know what you want

Most writers reach a point when our work is as good as it is going to get. The only way it will get better is to turn it over to our critique partners or to hire an editor.

That sounds pretty straightforward, but recently I’ve seen numerous twitter threads from freelance editors.  These threads stood out because these are people I’ve worked with.  One editor made a simple suggestion about changing the relationship between two characters in my story. I had to sit back and consider the changes that would echo throughout the whole story. They were amazing.

Yet she and other editors sometimes get nasty-grams from clients.  Nasty-gram is my own term for a lengthy e-mail or text.  It goes on for multiple screens, is accusatory, and . . . obviously . . . nasty.  Think of the howler that Ron gets from his mother in Harry Potter and the Chamber of Secrets.

Sure, we’ve all felt like writing a howler.  After all, if you write and you receive feedback, you periodically get feedback that is way off the mark. Fortunately, you minimize the chances this will happen.

Be Specific

When you hand over your work, be specific about what you want.  When I give my critique group an early draft to see if the story premise works, I tell them that is what I need.  They shouldn’t line edit.  This isn’t the time to correct punctuation.  I just need big picture feedback.

If I want help proofing something, I need to be clear about that. Check my grammar and punctuation.  Help me turn in clean copy.  This is when I need to use the term “proof” and not the terms “edit” or “critique.”

Be Selective

Knowing what you want is step one.  Improve your chances of getting it by asking the right person.  One of my critique partners cannot critique fantasy.  Me?  I’m useless if you are writing a board book.  If you are going to pay an editor, check out the services the person offers.  Ask questions.

If what you want isn’t what they offer, they may very well tell you that.  Not every fit is perfect, and you want someone who can do what you need.

Be Accepting

If you ask someone to review your work, you have to expect constructive criticism.  After all, that’s what you asked for and that’s what most people are going to try to give you.  There’s nothing worse than asking for feedback and getting, “This is great.  I really like it.”

Receive the feedback in the spirit it was intended. Most people want to be helpful.  This means they aren’t sitting with your work thinking, “I really need to mess this up. How can I completely destroy her plot?” 

Read the feedback and then go chill out.  That means get away from your desk.  Play a video game.  Go for a walk.  Bake something.  In a day or two, look at it again.  You may be surprised at what is now obvious that you simply couldn’t see before.

If you still feel the need to howl, reach out to your friends.  Your fellow writers will understand, because sometimes the feedback really does miss the mark.

--SueBE

Sue Bradford Edwards' is the author of over 30 books for young readers.  To find out more about her writing, visit her site and blog, One Writer's Journey.

The next session of her new course, Pitching, Querying and Submitting Your Work will begin on March 6, 2022).  Coping with rejection is one of the topics she will cover in this course.

Sue is also the instructor for  Research: Prepping to Write Nonfiction for Children and Young Adults (next session begins March 6, 2022) and Writing Nonfiction for Children and Young Adults (next session begins March 6, 2022). 

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9 comments advice from editors, critique, finding an editor rewriting receiving feedback

Taking Critique: That’s Not My Story

Fiction or nonfiction, poetry or prose, it doesn’t matter what you write. The best of your work always reflects your soul. That’s good and bad.

The good part is that it makes what you’ve written true with a capital T. Even if you are writing fiction, your work reflects what is real. People who can do this in young adult fiction create fans for life. Teens are all about speaking hard truths, even those that make people cringe. But that’s what makes Truth so hard to write. It can be a bit messy.

The bad part about being this connected through our writing to deeper truths is that we are also deeply connected to our writing. When people critique our writing, it can be hard to seriously consider even good suggestions. Instead we hear a screaming voice in our heads. “That’s not my story!”

Maybe it isn’t. But it could be an even better story.

This week, while icing cupcakes, an idea for a picture book popped into my head. I drafted this over-the-top caper and polished it and took it to my group. They liked it well enough but something was missing. The story felt a bit jumbled.

“Tell me about your characters,” said R. “Why are you writing about several kids instead of just one?” A friend had told me that she can find books about twins but she has two sets of triplet grandchildren. Two sets. She couldn't find any picture books with characters who are triplets.

In reality triplets tend to be a bit overwhelming. That had come through in my story but fiction often has to be better organized than reality to work well.

“Instead of having the characters bounce different ideas around, can you emphasize each child’s distinct personality?” said R.

We discussed it and I realized what she meant. One could be the Mom-ish figure, the kid who always does the reasonable, responsible thing. One is the scientist and super rational. The third? The wild child of the family.

My story had been about a caper pure and simple. This wasn’t my idea as I had conceived it, but now I had an idea for a caper with three unique protagonists who have to learn to work together. Not my story, no. An even better story.

Listening to what someone else has to say can be tricky. Sometimes their ideas take your story in a direction you hadn’t planned. Take a moment and hear what they have to say. It may not be your original story but it could be even better, one that now explores Truth with a capital T.

--SueBE

To find out more about Sue Bradford Edwards' writing, visit her blog, One Writer's Journey.  Sue is also the instructor for Writing Nonfiction for Children and Young Adults. The next session begins March 18th, 2019.

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3 comments critique, listening to critique, taking critique

If you don't ask...

Greetings for Wisconsin where it was 40 below and 3 days later raining, and today there's a thick blanket of snow everywhere. It's a great day for a lovely book, a warm cup of coffee, and some writing. Enjoy some deep thoughts!

I had a lovely employer who said "If you don't ask, you don't get" and in context, we were discussing everything from vacation, a pay raise, payments from customers, and better catering for company meetings. I think about this saying quite often as both a mother and a writer. As a mother, if you don't ask your children to do chores around the house, they're not just going to notice things need to be done and do them (sometimes our spouses are the same, but since Valentine's Day is this week, I won't discuss my husband's ability to walk right past a dirty sock and not pick it up...).

Now let's talk about asking in the writing world.

Do you want people to read your work 

and brainstorm ideas to make it better? 

Of course you do, so just ask. 

Do you want to know at what point 

in the story the reader got "hooked"?

Of course you do, so just ask.

Do you want to know which part of the 

story slowed down a bit? 

Do you want to know the first time 

the reader set the book down 

to get a cup of tea or take 

a bathroom break?

Of course you do, so just ask.

Do you want to know how someone 

felt after reading your book?

Of course you do, so just ask.

...the list goes on - you get the drift!


We can ask for early readers, reviewers, critique partners, etc...but if we don't specifically ask what it is we want to know, we may never get the answers we seek. When I am reading an absolutely fabulous book, I ignore my bladder, my dry throat, the laundry that needs folding, the toys on the floor, and I just read. I don't refill my water, I forget to drink my coffee, and I can't imagine moving from my seat. I've been known to read from cover to cover as if the book were all that matters in the world. That's when you know the author has talent! I've also been known to feel so connected to a character that I get to the 2nd last chapter and I put the book down because I don't want my relationship with the character to end; I want to drag out our parting as long as possible and my desire for connection can quiet my drive to find out how things ended. As an author, you should know those specifics, shouldn't you? Wouldn't you want to know that after the 3rd chapter I just couldn't go on? There are books so weighed down with inconsequential details and back story that I'm falling asleep...or so poorly edited I want to grab a red pen and send the book right back to be fixed. If you don't ask me about your book, I'm likely not going to give you this type of feedback. As a reader, you have most surely felt the same way? You've probably sat in silence not wanting to provide specific feedback.

As a reader - What if you were specifically asked? Would you provide those details about when the writing was best, when it was a bit boring, etc...?

As an author - What if you asked specific questions? Would you want to know when you're writing really pulled the reader in? When they became disengaged? When they wanted more?

If you don't ask, you don't get! 

Don't just ask for reviews! Reviews are important for selling books, but asking for specific feedback is important for improving your craft which will help with writing the next book - and the next - and the one after that!

What is your goal? What specific questions can you ask to help improve your writing?

Crystal is a secretary, council secretary, and musician at her church, birth mother and auntie, babywearing cloth diapering mama (aka crunchy mama), business owner, active journaler, writer and blogger, Blog Tour Manager with WOW! Women on Writing, Publicist with Dream of Things Publishing, Press Corp teammate for the DairyGirl Network, Unicorn Mom Ambassador, as well as a dairy farmer. She lives in Wisconsin with her husband and their five youngest children (Carmen 11, Andre 10, Breccan 5, Delphine 3, and baby Eudora who somehow turned 1 already), two dogs, four little piggies, a handful of cats and kittens, and over 230 Holsteins.

You can find Crystal riding unicorns, taking the ordinary and making it extraordinary, blogging, reading, reviewing, and baking here and at her personal blog - Crystal is dedicated to turning life's lemons into lemonade!

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1 comment author questions, book review, critique, feedback, reader feedback, reviews, specific questions

The Key to Success Is Driven Home

So Oldest Junior Hall left his (very) old car in my garage, hoping one of the workmen doing repairs on my house might want to buy it. But in the meantime, I had to take the (very old) car to the bank because my car was blocked by trucks.

And it was mostly good until I stopped to pick up a Coke; I couldn’t get the key out of the ignition. Okay, fine, I didn’t really need that Coke. But after I parked the car in the garage, I still couldn’t get the key out of the ignition. I received specific (and increasingly loud and annoyed) directions as to how to get the key out of the ignition, and after two hours, it still wouldn’t budge.

Three days passed with me going out to the car two or three times a day, trying to get the key out of the ignition. And then Youngest Junior Hall stopped by the house. I pointed to my nemesis. “See if you can get this (use-your-imagination-here) key out of this car.”

Click went the key. “Presto,” said my son, putting the key in my hand.

ARE YOU KIDDING ME?

So here is the point where I make my writing point. Because honestly, before I even called Oldest Junior Hall to let him know the key was free, I thought about writing. Specifically, I thought about critique.

How many times, I wondered, have I spent hours—days, even—on a manuscript, trying to make something work and I just couldn’t figure out what was wrong? And then moments after sitting down to critique, one of my writing partners points to a troublesome spot and with a suggestion or two, more or less says, “Presto!”

How many times have I thought a manuscript was super submission-ready, only to sit down with an agent or editor who found the spots where the story just wasn’t clicking?

I know it’s not always easy to find the right critique group, or to shell out the money for a professional critique, but it’s vital to have another set of eyes checking your work. Because just like with the key in the car—where I was obviously doing something wrong, and I was doing the wrong thing over and over and over again—we can get stuck.

We can completely miss the gaping plot hole because we know the story and our brain fills in that hole. Or we can miss the character whose name changes midway through because we simply keep reading it as the same name. We can overlook a hundred errors, big and small, because we’ve worked so hard and so long on a manuscript that what’s wrong with it no longer catches our eye.

So the next time you think you don’t really need critique, remember that finding an answer to an annoying problem might just be one set of eyes away. And presto! The key to success (and maybe even to a very old car) could be right there in the palm of your hand.

~Cathy C. Hall

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1 comment Cathy C. Hall, critique, professional manuscript critique, writing critique groups, writing success

The Five Buck Deal at Fiverr

So you want a quick critique of a short story, or you’re fed up with the latest round of rejections on your essay. But your critique group’s out of commission or your favorite go-to writer friend/critiquer-extrordinaire is tied up with other business. What you need is a fast and objective critique, but how do you find one?

You could try Fiverr. That’s what the folks there are all about: a five-dollar, let-us-help-you-fast deal.

You’ll have to sign up for Fiverr (it’s free and easy) before you can take a look around. But once you’re in, you’ll find all kinds of writers willing to give you a five-dollar critique on anything from picture books to adult fiction, from fantasy to romance, from a poem to a college paper.

You might find an editor or an agent, a publisher or a multi-published author, all of them willing to share their writing services. And as long as you keep your expectations reasonable—after all, you’re only paying five dollars—you’ll find a bargain as well as good feedback.

Fiverr has a system that makes it easy to find that bargain, too. When a person signs up to offer services, he or she gives credentials. Plus, you can look for high ratings and read a seller’s reviews when you’re just starting out in order to get a sure bang for your buck. Later, you can try newer sellers who might not have built up ratings yet but are just as serviceable for a basic gig.

And there are other services besides critique that a writer might find beneficial at Fiverr. Maybe you’re looking for a new website banner, a professional press release, or a crowdfunding campaign. Or maybe you’re like me and don’t realize you need something until you come across a clever posting that grabs your eye. (A frog puppet? That sings? Awesome!)

I mean, it’s only five dollars, right?

On the flip side, you might want to look into offering your services on Fiverr. Do you have excellent editing skills? A keen eye for finding what’s missing in a pitch? Can you whip up graphics, draw a cartoon? If you have a skill, chances are good that someone out there wants it—and will pay five bucks for it.

My only caution to you is that you need to be fast. I don’t mean with your turnaround of services (though that’s recommended if you want good ratings) but with your ability to provide the service. For example, if you’re spending an hour to critique 1,000 words for five dollars, then that’s not a deal for you. But if you can dash off a relatively insightful critique in fifteen minutes or so, then it might be worth your investment of time and effort.

I haven’t had a chance to use Fiverr yet; I researched the site, then found myself swamped with work. But I know a couple excellent writers who offer their services and enjoy the payout. (Note: Fiverr makes a commission from each gig so you don’t make five dollars. But you will be paid promptly.)

So how about you? Have you tried Fiverr—or do you think it’s a gig you’d like to try? A penny for your thoughts!

~Cathy C. Hall

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7 comments Cathy C. Hall, critique, Fiverr, freelance work, writing help

How to Critique

I hope Cathy Hall’s recent post, The Critique Epiphany inspired those of you who don’t have critique groups to seek one out.

If you’re not sure how to critique, here are some tips to get your started.

1. You may not have a lot of experience critiquing, but you do have experience reading. Essentially, that’s what you’re doing. The difference is that you get the chance to tell the author what you think . . . within reason.
2. A good critique points out what works and what doesn’t. Start with what the author did right. Maybe she picked a topic you love or her description is so solid that you feel like you could walk into her setting. Tell her. Then you move on to what doesn’t work. She’ll be more ready to hear it now that you’ve put her at ease. Whew! She did something right.
3. When you make suggestions for change, keep them fairly broad. You absolutely despise this writer’s dialogue. All of her characters, including the husband, the sons and the Seal Team (doesn’t every novel have a Seal Team?) all sound like fifteen year-old girls. That’s a problem but don’t underline all of the dialogue that doesn’t work. Mark a few lines then reflect on her “big picture.” “As much as I like the story, I’m having trouble telling the voice of one character from another.”
4. Share What Has Worked for You. If you’ve also struggled to develop voice or setting or plot, share what worked for you. “You might try developing a vocabulary each character. It worked for me.” She might take your suggestion, but she might not.
5. Remember, you are playing in someone else’s sandbox. This isn’t your story. It belongs to someone else. You’re only there because you’ve been invited over to play. Your opinions are just that. Your opinions. In my group, when we aren’t sure if we’re helping or just stirring things up, we point that out. “It’s still your sandbox. Not mine.”

It may take time before you feel comfortable critiquing the work of other writers. After all, it is a skill. Many writers are introverts and attending a critique group requires us to put ourselves out there, both by sharing our work and by sharing our ideas on the work of others.

That said, it is worth learning to do well. Friendships with other writers often grow out of critique groups and no one will understand you or your work better than someone else who writes.

--SueBE

Sue teaches our class, Writing Nonfiction for Children and Young Adults. The next session begins in October; places in the class are open.

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1 comment critique, critique groups, how to critique

Surviving a Bad Manuscript Critique

Cathy-on-a-Stick  with sister survivor, Scarlett

I attended a conference recently and it was a pretty swell event, if you don’t count the last fifteen minutes.

I signed on for a professional manuscript critique, and when it was over, I staggered from my seat feeling like Georgia after Sherman marched through it. In fact, I wondered if the critiquer had used Sherman’s slash-and-burn methods (metaphorically) in the hopes that I would use Sherman’s methods (literally) so that no one would ever have to read what I had wrought.

That’s the way it goes with manuscript critiques. Sometimes, they’re very good; other times, they’re just plain rotten. And that can be for the very same manuscript. But I’ve learned how to survive the bad evaluation and go on my merry writing way. And you can, too.

Give Yourself Time

You will want to scream and yell and rip your pages to shreds. Or you will want to bury every shameful word you’ve ever written in a deep, dark hole. Perhaps you will want to bury the critiquer in a deep, dark hole. But what you must do instead is give yourself some time so that the raw emotion swirling in your soul can recede.

I know it’s tempting to wallow in misery, or worse, rant and rave, especially to friends and fellow writers. But resist the urge to vent loudly (particularly if you are within shouting distance of other professionals) and save the tears for the bathroom stall. Find a quiet spot and collect yourself so that you can move on.

Good, Old Perspective

It’s tough when you receive tough criticism. It’s tougher, really, than a curt “not for me” rejection. Because with a critique (which you paid for!), you are forced to sit through the excruciating exercise of someone telling you exactly why your work stinks. What you need is a little perspective.

Here’s what I do. I give myself a pep talk. I think of a time I’ve been challenged and how I survived, and I start to feel a bit empowered. And then I count all the wonderful blessings of my life, and I start to feel grateful. It’s not long before good, old perspective kicks in. The world will keep spinning, friends and family will still love me, and I’ve still got a pretty nice roof over my head—even if my manuscript is the pits. I’m ready to move on to the truth.

Facing the Truth

In the midst of curling into a fetal ball, you may not be ready for the truth of your evaluation. But after time, and a healthy dose of perspective, you can take a look at the notes thoughtfully provided by your critiquer. You can relive that less-than-delightful one-on-one experience and maybe even recall some of what was said.

First, look for the positives. I guarantee you that there will be a note or two of praise in your critique. Second, cling to those words as you peruse the pages and perhaps you’ll have the courage to accept the flaws of your work. You can fix flaws.

Or you can chuck that manuscript and start on something new. Or you can even ignore the entire evaluation. But don’t let one bad critique defeat you. Get back to work and write. After all, tomorrow is another day.

~Cathy C. Hall

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9 comments Cathy C. Hall, critique, manuscript critique, perspective, writing evaluation, writing tip

The Opening Scene: A Review of the Plot Whisperer and the Plot Whisperer Workbook

My first fantasy novel has become an ongoing project that has sucked me in and spat me out countless times. My plot as a whole is solid, but the beginning has been a challenge. When I say that, I’m being polite.

I took my first beginning to my critique group. Nope. It was too confusing, because I had started the story too late. I started the story earlier and tried again.

I took the new first chapter to my critique group. Still not enough backstory so I started still earlier.

When that didn’t work, my confidence deflated. I remembered a plotting diagram in the Plot Whisper and The Plot Whisperer Workbook. They were in my “to review” stack. What better way to test them than this first chapter fiasco? I mentally issued the author a challenge. Drag me out of this writing slump, Martha Alderson. I dare you.

The plot diagram, Alderson’s Plot Planner, includes the character’s emotional development. Although I was convinced that the problem was plot not emotion, I sat down to do the activities. After all, a dare is a dare.

I created character emotional profiles for my protagonist, my antagonist and side kick. Apparently, Mr. Sidekick is not the goody-two-shoes people see; this new knowledge deepened the story.

I typed a list of scenes. Not difficult, but they were more numerous than I had expected.

I found a 6-foot-long piece of paper as recommended by Alderson for a full-sized plot planner. I wasn’t convinced I needed this much, but I typed my scenes including plot, subplot, emotional arc, dramatic action and theme. As I cut and taped to the chart, I realized it would take 6 feet of paper. Then I got another shocker. Original scene #1 was now scene #6, at the first turning point.

I had originally started the story way too late, a fact I would have seen on this type of plot diagram. Alderson has you look at turning points. At the first one, your character commits to a course of action different from his opening goal.

At the turning point, my character decides on revenge. If I had been using the Plotter from the start, I would have plunked down a revenge chapter and realized that the story needs to build to this point, not start here.

I highly recommend these books. The Plot Whisperer explains the concepts you will use, showing how each is essential. The workbook takes you through exercises that get the job done.

There are sections on exploring theme; creating story arcs for your antagonist and secondary characters; how and where to work in details; testing cause and effect; and working in backstory.

I’m looking forward to playing with theme but I’ll also study the sections on backstory and all the rest. Why? Alderson has already surprised me multiple times by supplying tools I need before I understand that I need them.

--SueBE

Find out more about Sue Bradford Edwards and her work on her blog, One Writer's Journey.

*****

GIVEAWAY: THE PLOT WHISPERER & THE PLOT WHISPERER WORKBOOK

Writers, you're in luck! We have three copies of each book to give away, courtesy of the author, Martha Alderson! After Sue's marvelous review and recommendation, I'm sure you'll want to win the set for your writer's reference library. Just enter the Rafflecopter form below for a chance to win print copies of The Plot Whisperer: Secrets of Story Structure Any Writer Can Master (AVR $14.95) and The Plot Whisperer Workbook: Step-by-Step Exercises to Help You Create Compelling Stories (AVR $16.95) or e-copies—reader's choice! The contest is open to US and Canada for a print copies, and internationally for e-copies. We have six books total to give away, and we will randomly choose three winners to receive the set of both books.

a Rafflecopter giveaway


Good luck!

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32 comments character development, Contest, critique, Martha Alderson, plot, The Plot Whisperer, The Plot Whisperer Workbook

How to Find a Critique Group

Some groups provide lots of written comments!

It’s one thing to know that you should probably belong to a critique group.  It’s another thing to find one. Start out by looking wherever you find other writers.

Writers’ organizations.  If you belong to a writers guild or other writers’ organization, they may have ongoing critique groups or a system in place to help writers create new groups.  I belong to such a group sponsored by the Society of Children’s Book Writers and Illustrators, Missouri Region.  It was my first face-to-face critique group.

Meetings or Conferences.  People don’t always talk up their own groups at events like these, but they are great opportunities to meet other writers that you can invite to start a group.  This is how I connected with my second group, the Ladies of the Gordian Knot.

Online.  Many of us “meet” our fellow writers online in discussion groups, on blogs, or on Facebook.  Interact with your fellow writers then approach them about creating a group.  A group doesn’t have to meet face to face; as a grad student, my only critique group was via e-mail.

As you try out various groups or work to create your own, here are some things to keep in mind.

• Look at what people write. Picture books are different novels.  If you are the only novelist, you might not get the help you need from a group of picture book writers.
• Ask why they write. People who write to publish often have different goals than people who write just for the fun of creating a story.
• Look at their publishing choices. If your focus is traditional publishing, a group focused on self-publishing may not meet your needs.  Variety can be good, but if you are the only one providing that variety, you might need to look elsewhere.
• Learn the ropes.  Every group works differently.  Some read their work aloud.  Others pass it out ahead of time and return it with comments but also discuss it.
• Be ready to give.  A critique group is different from a critique service.  If you only want feedback but don’t want to critique for others, find a freelance editor.  This attitude isn’t fair to the other writers.

Not every group will be right for you.  You may even like everyone in a group, but still not get what you need.  It’s a lot like dating that way.  Sometimes you have chemistry and sometimes you don’t. If the first or second group you try lacks this chemistry, don’t give up.  A good critique group is worth the wait and the effort.

–SueBE

Find out more about Sue's writing on her blog, One Writer's Journey. 

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8 comments critique, critique groups, writing groups

When Can I Ignore an Editor's Comments?

If you’ve been writing for any length of time, you’ve heard the advice that not all editorial comments are created equal. Some editors simply miss the mark, because they don’t have the same vision for the piece that you do. Disregard them and move on.

My advice? Listen. Wait. See what happens.

Recently, I had a middle grade fantasy critiqued by Emma D. Dryden at a writer’s conference. I had taken my protagonist from 8-years-old to 12. At least that’s what I tried to do. I had my doubts about whether or not it worked, and I wondered if the story was complicated enough for this age group.

Enter Dryden. First she pointed out that my character wasn’t 12. He was 11. It may sound picky but if you have an 11 year old you’ll understand. This is a time period full of huge developmental changes. One year makes a difference.

Then she pointed out that my story felt too young because my antagonist was my protagonist’s younger sister. “Why not make her his twin?”

Whoa! What? The story I wrote was about an oldest child having to learn to deal with a youngest child. Twins? Twins would change the whole dynamic. This wasn’t the story I’d written.

But it would make the story more complicated. Wasn’t that something I’d been worried about?
This wouldn’t be the same story at all. I thanked Dryden and vacated my seat for her next appointment.

My next session was a characterization workshop. Instead of creating a profile of my protagonist and then writing a scene, I reworked my antagonist. She changed from his younger sister to his older twin. She’s mad because he’s not as mature as she is and that’s why she’s making his life miserable.

Then I sat through a panel discussion on YA literature. At least I’m fairly certain that’s where I was physically. I was thinking about the ways that my younger antagonist had tormented my protagonist. An eleven-year-old simply wouldn’t be mean in the same ways as a six-year-old.

Crud.

At least one setting will have to change. I figured that out during a session on media.

And the ending, my ending will have to be completely rewritten. That came to me at dinner.

No, the editor didn’t have the same vision for the book that I did, but her suggestion solves the problems that I had already spotted. It solves the ones that she pointed out as well.

And this new story? It is deliciously dark and won’t leave me alone. Anything with this much energy needs to be written.

Even if an editor doesn’t share your vision, listen hard and listen long. You just might be surprised to hear your characters celebrating a bigger and better story.

–SueBE
Author Sue Bradford Edwards blogs at One Writer's Journey.

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5 comments critique, editorial feedback, rewriting

The First Page

This past weekend, I attended a writer’s workshop where we had a first pages critique session. That’s when an author panel hears the first 200 to 300 words of a manuscript, and then gives feedback to attendees. Basically, what these published experts ask themselves is, “Would I keep reading after this first page?”

You don’t have to write for children to learn a lot from first page critiques. And you don’t have to write a novel, either. Because the point of a first page is always the same: you have to grab your reader right from the very beginning!

Two hundred and fifty words. That’s the average number of words in that first page. Geez, that’s not much. But that’s all that you, the writer, have to grab that editor or agent or publisher before he or she moves on to the next manuscript. So how do you make every word count?

Here are the top suggestions I heard during the critiques, and the discussion that followed:

“You don’t have to explain the whole plot on the first page, but you do have to give an idea of what the story is about.”

Don’t fill up your entire first page with lovely description of your setting. You can weave that lovely description into the plot (what the story is about). Whoever or whatever is mentioned in the first page should be important to your plot (what the story is about). Resist the temptation to throw in anything that doesn’t relate to…yeah, I think you know what’s coming: What the story is about. Which brings me to the next suggestion.

“The voice or the narrator captures the reader’s attention from the get-go. If we don’t know who the protagonist is, we won’t be interested enough to keep reading.”

Your voice must be strong right from the start! Your audience needs to care about what will happen next—and more importantly, who has something at stake in the story. Read a few of the first pages of your favorite novels, or short stories, memoirs or essays so you can see how the writer manages to invest the reader in the story, right from the very beginning.

That’s what you want in your first page. After that, the rest is easy. Well, easier.

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5 comments critique, first page, plot, voice

Friday Speak Out!: Maintaining a High Standard in the Self Publishing Industry, Guest Post by Laura Pepper Wu

Maintaining a High Standard in the Self Publishing Industry | Editing + Critiquing = Success!

by Laura Pepper Wu

Have you ever downloaded a book onto your Kindle and started reading it, enjoyed where the story was going, felt pleasantly impressed by the description, began rooting for the protagonist and then BOOM! The character who arrived in a taxi leaves in her car. Or the character from Luxembourg begins speaking Italian? Or the character leaves her house at 7am but by the time she reaches work she was already late for an 11am meeting?

It’s these small yet crucial details that can pull us out of the story, lose our faith in the world we have become involved in and in the authority of the story-teller. Quite simply, a minor mistake can ruin an otherwise excellent story.

A good line or copy editor will be able to point out these inconsistencies, as well as check each line for grammar, spelling and punctuation to avoid such annoyances.

But what about the pacing, the flow of a story, readability? Is this the role of an editor too?

Traditionally a manuscript would receive all three in-house; line editing, copy editing and a content edit, but with the reduced budgets of smaller publishers and individuals, the content edit is the step that is quite often overlooked. Many writers think that an editor who fixes grammar will offer suggestions on content and flow (and perhaps a good one will), but this is really beyond the scope of their job.

I believe that having a good critique partner, or several, can help bridge this gap for independent and self-publishing writers who wish to have content critique but whose budget simply doesn’t allow for it. What is more, having a critiquing relationship with a partner or group throughout the writing of your novel, and not just when it is finalized, can provide guidance with developing your plot, your characters and description as you go along (and not adding it all in later). This sort of interactive feedback is invaluable and your writing and WIP will both benefit from it.

It’s worth adding that not all critiquing relationships come equal. If you have been put off by a bad critiquing experience or unhealthy writers group environment in the past, or aren’t finding much value in the one you currently have, it’s worthwhile “shopping around” for a good fit. Like any good relationship it takes time to find. But it will be worth the wait.

***

Laura Pepper Wu realized the value of having a critique partner through her in-person writing group, but when it became harder and harder to make the Saturday afternoon meetings she began to search for help online. After realizing how difficult it was to find a suitable critique partner who “got” her genre (chick lit) she founded Ladies Who Critique.com. Writers of all levels are welcome to join and begin their search for the perfect critiquing relationship. It’s free and always will be!

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Do you want to reach WOW’s audience? We welcome short posts (500 words or less) from writers just like you! You can include your bio, pic, and links to your website/blog for promotion. Our only requirement is that your post be about women and writing. Send your Friday “Speak Out!” post to: marcia[at]wow-womenonwriting[dot]com for consideration.

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7 comments critique, editing, Friday Speak Out, Laura Pepper Wu, self publishing

Hocus-Pocus Focus

Focus is like hocus-pocus. The day disappears before our very eyes. Hocus-pocus and other such charms were words said as a distraction technique ('busying the senses'). 

Writers perform hocus-pocus. Procrastination, not having the desire to write or no time to write are three things that cause focus lost. The goal is fuzzy, like looking through an out of focus camera lens. Make adjustments to bring goals back into focus. Stop busying your senses.

Procrastination (Things not to do)

1. Check Facebook every three minutes
2. Play a quick game (or ten) of Bejeweled or Solitaire.
3. Watch TV.
4. Count the snowflakes/raindrops/stars.
5. Take your third bath of the day.

No Desire to Write

1. Join a critique group.
2. Analyze someone else’s work.
3. Read a novel.
4. Try a new genre
5. Use a notebook and pen for a change

No Time to Write

1. Keep a journal of where you spend your time.
2. Turn off phone.
3. Don't connect to the internet.
4. Write in smaller blocks of time.
5. Make the writing project easy to access.

Anastasia Pryanikova says procrastination can be productive. Use procrastination to organize your thoughts and assess a situation objectively, to create a time-management system for your future actions, to motivate yourself for success, and to create a mind map of your project. To find out more about productive procrastination go to the Five Ways To Procrastinate With Purpose.

 If a writer has the desire to be successful and prolific, a clear focus on writing needs to be a priority. Another way to stay focused and motivated is to take classes, workshops or work through a writing workbook. Find writing exercises and different ways to hone your skills. Work on more than one project at a time. Momentum plays a big role in writing; start it flowing and keep it flowing. Don't let hocus-pocus slip into your writing life. 

Source:

Photo http://www.answers.com/topic/lens-vision

Cartoon http://101excusesnottowrite.blogspot.com/

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4 comments Cher'ley Grogg, classes, creative, critique, focus, goals, Hocus-pocus, purpose, workshops

Hints on Giving Helpful Writing Critiques

All helpful critiques are alike; each unhelpful critique is unhelpful in its own way.

I’ve been a part of many different writing workshops and critique groups – some of which were fun, positive experiences that left me feeling refreshed and energized. Others left me feeling like I should never write again.

Whether you are enrolled in a creative writing workshop, discussing a story in your writing group, or giving a friend some feedback on her story, here are some general guidelines for giving a good critique.

Positive Feedback

First, start by giving the writer some positive feedback. What did you like best about the story? Even if it is poorly written or on a subject in which you have no interest, there is something good about the piece. Maybe it is only a particular sentence or a phrase that you liked, but at least that’s something. Writers get nervous when they have their work critiqued, and it’s best to make them feel more comfortable by starting on a positive note.

Make Suggestions

Next, discuss elements of the story that could be improved. Unless a story has been critiqued once or several times, there is probably at least one element that could be improved. Maybe there are inconsistencies with the character’s personality. Perhaps the pacing is off and more time needs to be spent on one scene rather than another. In rough drafts there are often typos and misspellings. Unless the writer has specifically asked for help with this or the errors are so bad that they impede your ability to focus on the story, do not dwell on small mistakes like typos. They can be corrected in later drafts.

You can also ask the writer questions on her/his intentions with the story. Asking questions is especially useful when you critique parts of a novel. You may not be sure where the story is going yet, but by asking the writer questions like, “Does Doug end up falling for Mary?” will help the writer focus her/his intentions. You could also suggest where you would like to see the story go, such as saying, “I hope Mary moves back to Seattle instead of marrying Doug.”

Give Encouragement

At the end of a critique, give some encouraging words, like, “I'm looking forward to reading more!” or “Keep going with this!” Reiterate the positive aspects of the writing. It can be daunting for writers, especially new writers, to have others read, analyze, and criticize the writing that they have put your heart and soul into. Keep this in mind before becoming overly critical of a piece of writing. On the other hand, giving all positive feedback without any suggestions for improvement is just as unhelpful.

The key to a great critique is finding the balance between positive and critical feedback. You want to be helpful but you also don’t want to hurt anyone’s feelings. It may take some time to find that balance, but just like with writing, it will get easier with practice.

by Anne Greenawalt at http://www.annegreenawalt.com/

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2 comments Anne Greenawalt, constructive criticism, critique, critique groups

Giving Advice

What do you do when a good friend or relative asks you to read her manuscript, give it a "critique" (or at least tell her what you think of it), and. . .it's not good? Not only is it not good, but it also breaks all the rules of writing--all the rules that first-time authors are definitely supposed to follow. She makes mistakes like changing points of view without any sort of pattern, using cliche sentences and story lines, and including improper grammar and punctuation. What do you do?

Do you save your relationship and tell her it's great? Do you tell her a few things you like and gently explain some of the mistakes? Do you offer resources she should read before she continues writing? OR do you just give a completely honest critique because she asked for it?

Some published authors I know won't read people's manuscripts for this very reason. They don't want to put themselves in a situation where someone close to them has hurt feelings. Let's face it--we 're all close to our writing; and even if we know there are problems with our story and we want to learn how to fix them, it still hurts when every single person who reads our work doesn't think it's brilliant.

It's hard to say no, however, when someone very close to you is excited about writing and asks you to read a manuscript and give your opinion. So, what do you do? Has this ever happened to you? How did you handle it? If you did give honest advice, how did the receiver take it? Did the person even listen to you?

On a day when we celebrate fathers (Happy Father's Day! to any dads or soon-to-be dads out there) and think about all the advice our own dads have given us over the years, I thought it would be appropriate to ponder this situation about giving advice (critiques), which is sure to happen to many of us writers at sometime in our lives.

post by Margo L. Dill, www.margodill.com
photo by AMagill www.flickr.com

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9 comments constructive criticism, critique, Father's Day, Margo L. Dill

Friday Speakout: Surely You Just, Guest Post by Michelle Dwyer

Surely You Just (Cheesy, I know)

by Michelle Dwyer

Okay so, I recently received my contest critique for the WOW! Summer 2009 Flash Fiction Contest. Not too shabby I must say. I guess the past critiques have allowed me to refine those blunders called adverbs. Toning down these dust mites (as I now call them), has taken effort. But seeing less green (you know, the highlighted adverbs) in my critique is worth it.

Why was I using adverbs ALL the time? I was addicted to making a point—a point I never had to make.

I thought using “punch” words such as just, always, really, very, and some quantified my thoughts, made them more tangible for the reader to measure. For example, “I just got a request for a partial!” (That hasn’t happened. Just let me have my moment), is no more intense than, “I got a request for a partial!” They express the same joy. The “just” adds no value to the excitement that hopefully one day I will experience.

I took me a while to get it. In my mind, the reader had to know what had just happened, or what simply had to be a certain way. It made the stakes higher. Made those words very, very important, right? No. It just made me look like an amateur.

But I’m hard-headed (really, really hard-headed), so I’m still learning to give up the dust. Sometimes I leave particles in my stories. And guess what? Adverbs in moderation can actually add depth when done right; however I’ve learned that overall, readers don’t need to know that a car can go super fast or that my protagonist is immensely hot.

I can be defiant, refusing to let tried-and-true principles trump my need to be right. I needed proof, beyond a reasonable doubt, that most adverbs are in vain.

I opened the file belonging to my 113,000 word manuscript. Blindly, I searched for and deleted every just, always, really, some, and very. I didn’t care about sentence structure or meaning. After this, I re-read the story.

What do you think happened? I put a handful of these words back into the story because the impact legitimately called for them. The remaining adverbs were never seen again because they’d added no value and would never be missed. I now have a leaner, meaner manuscript.

How cluttered had my manuscript been before the changes? In other words, how many adverbs didn’t make the cut?

2,497.

Pretty, very, really, amazing…don’t you think?

Wait. Start over.

Amazing, right?

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Michelle studied writing in high school and longed to become an author. But circumstances arose, causing her to join the military instead. However, she never gave up. She enrolled in writing school, finished her first crime novel, and will achieve her MBA this fall. She writes as Krymzen Hall at http://www.helium.com/users/421563/show_articles

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Do you want to reach WOW’s audience? We welcome short posts (500 words or less) from writers just like you! You can include your bio, pic, and links to your website/blog for promotion. Our only requirement is that your post be about women and writing. Send your Friday “Speak Out!” post to: marcia[at]wow-womenonwriting[dot]com for consideration.

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6 comments adverb, contest critiques, critique, Friday Speak Out, Michelle Dwyer

A Good and Fair Critique

Recently, I decided to overcome some old fears and submit some work for critique to a writers group. I had to finally admit to myself that this was necessary. As writers, it's a good idea to show our work to fresh eyes because being so close to your work sometimes makes it hard to see what it's missing.

I gained some useful advice, but also some that I had to take with a grain of salt. Anytime you submit a piece for criticism, you'll have to have a thick skin for some of the remarks, but it's also vital to remain open to what others have to say. While it's always nice to receive glowing feedback from our friends and peers, it's wise to give your work to unbiased readers. This won't include your mom, sister, brother, favorite uncle. The critics need to have a basic understanding and appreciation of writing as a craft. They can be prolific readers, but it's almost always better to show your work to other writers.

I think that people who critique others need to keep in mind these points:

• The author is probably very proud of her work, so don't trash it. Is there anything good you can find in the piece? Anything? If so, say something positive about it.
• Do nitpick on spelling. We're writers after all; our spelling should be excellent.
• Really read it, not skim over it. You can't do an honest and fair critique if you don't fully consider the work.

Likewise, the person who submits a piece for criticism needs to keep in mind:

• This is only someone else's opinion. You don't have to agree with it, but see if there's anything you can take from it to make your work better.
• You can't be ultra sensitive to criticism. Everyone isn't going to love everything you write. Tom Clancy is a best-selling author and just about any book he writes is going to do well, but there are people in the world who don't love Tom Clancy. I doubt he's really bothered by that.
• You're brave for submitting. Because writing tends to be so personal, it's not merely pieces of paper we send out to be reviewed; it can sometimes feel like pieces of ourselves, our "babies." If you can overcome the fear of allowing others to look at and judge your baby, you've taken a step that many others haven't.

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4 comments craft of writing, critique, critique groups, Del Sandeen, writing

Walk the Line: Critiquing Another’s Work

by Susan L. Eberling

“ ‘. . . George took Christina into his arms as the sun set into the ocean. They kissed and they knew they would always be together.’ Well, that’s the end of my story. What do you think?”

A good friend sits before you, waiting for an answer. Her eyes are full of hope, expectation, and a twinkle of fear. This writer has waited all day, all week, maybe all month to come to writers’ group and hear what you have to say about her short story.

So what are you going to say?

Critiquing another’s work can feel like walking on a dangerous precipice. On one hand, no story in its first draft is complete or perfect, major revisions are always needed. But, if careful, you can point your friend towards tightening the plot, increasing suspense, or developing characters. On the other hand, a story just shared is like your friend’s baby, her emotions will be tied up in what you say about her writing, both good and bad.

So how do you walk this high road of giving honest criticism that makes a piece of writing better and while being sensitive to the writer’s feelings? Here are four suggestions for careful walking as you give feedback and criticism:

• Use a checklist

Plot, setting, point of view, conflict. These are objective aspects of any piece of fiction. You can evaluate the plot of your friend’s piece without foisting your opinion on her work. Plot is a literary device that needs to be strong and clear in any piece of fiction. Help your friend evaluate the strength of her plot, or the details of her setting, or the reasonableness of the conflict. By focusing on these devices that create good fiction, you will be giving her thoughtful, specific suggestions to consider. Victory Crayne has a great checklist and tips for critiquing at www.crayne.com.

• Admit your filters

Your friend just shared her romantic short story with you, but you hate romantic literature. Tell her. Crayne says, “Let the author know if this is not your favorite type of story. This may help them better understand your viewpoint. Things you do not like in the story may very well appeal to a fan of that genre.”

Let your friend know that in your world romance is not on your top 10 list of things to read. This way if you start to seem disdainful, she will know that it is not about her and her writing, it is about your own style and preferences.

• Create a safe haven

“It’s easy to easy to tear a piece of writing to shreds,” say Charlie Schulman in The Portable MFA in Creative Writing, “but being critical in a positive, tactful and constructive manner takes time and careful consideration.” Set aside a good chunk of time to hear the writer’s story or to read a copy of the story on your own. Simply skimming the piece or not listening attentively could lead to snap judgments or misunderstanding of the style or theme of the piece. Also, create an environment where risk is tolerated and even bad writing can be nurtured into good writing. Schulman encourages critics to “balance support with challenging suggestions”.

• Major on the majors

Unless your friend’s story is on the way to the publisher’s in the morning, use your critiquing opportunity to analyze the bigger issues of style, characterization, plot and theme. Leave grammar and punctuation until the end of a critique or a later draft.


Critiquing is about encouragement and calling each other out to be better writers. Everyone wins when you are honest about the faults and flaws of a fellow writer’s story yet able to keep her hope alive that someday, after revision, she will have a draft of a story that she can be proud of. Hopefully, through your example, others will walk the same line for you as you share your work.

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Leave a Comment constructive criticism, critique, critique groups, Susan L. Eberling, writing buddies, writing support

What Is a Great Critique Group All About?

I am a lucky writer. Not because I have had minor success in getting my work published, not because I have my own office to work in at our house, and not because my husband bought me my very own laptop and puts up with living with a writer. Yes, those three things are wonderful, but that's not why I feel like a lucky writer today. I am a lucky writer because I have a GREAT critique group.

Actually, since I have moved around a lot in the past seven years, I have been lucky to find a good critique group wherever I lived. But since I am currently living in East Central Illinois, working with this children's writers' critique group, and they are currently helping me with my young adult novel, I will focus on them. Plus if I blog about these generous writers, perhaps they'll even "love" my story instead of liking it. (Just a little cyber space brown nosing there.)

I want to share with you why my critique group rocks for two reasons. If you aren't in one, then maybe this will encourage you to find one or start your own. My second reason is there are a lot of critique groups out there, and they aren't so great. Maybe you feel this in the back of your mind, just like when you know there is something wrong with your main character, but you just can't figure it out.

The first thing I love about my group, which consists of seven writers, is we all write consistently, and we all care about writing. We meet every three weeks at a local Borders store, and each time, we have at least four stories or chapters to critique. Some groups have a dominant member, who brings hundreds of pages of their writing and monopolizes the entire meeting with their work. We don't have that, and we are very thankful!

We have a good mix--being children's writers, we are also lucky enough to have a male in our group. We have all ages, all life experiences, all different professions--as I said we are a good mix. We write picture books, short stories, articles, novels, poetry--you name it, we've wrote it, read it, and critiqued it.

We don't have a lot of silly rules. We established a few guidelines since our writing is so precious and close to each of our hearts. One is to make sure and say what you LIKE or even LOVE (which is much better than like) about the story before you rip it to shreds. Also, we try to ask questions about the writing or state things that we feel need to be changed in a delicate way such as, "If I was writing this story, I might have had Thelma and Louise drive off into the sunset instead of over the cliff, and here's why." In a non-constructive critique group, you might hear, "What were you thinking when they drove off the cliff? That was HORRIBLE. I would have never done that." And just for you non-believers out there, I am not exaggerating my previous comment. There really are writers who talk to each other like that. REALLY!

The best part about my critique group is we care about each other getting published. We want to make each piece of work the best it can be, and we even offer market suggestions to each other. We listen to the other person's desires. We bring in articles about writing. We go to writing conferences together or bring in information about a great conference we discovered.

Are you tired of me gushing yet? I just want every writer to have such a wonderful experience, and so I am trying to describe everything I can think of that we do.

So, although Thanksgiving is over, and everyone is probably tired of listening to each other go on about what we are thankful for, I have to say that one thing I am very thankful for and very lucky to have is. . .my critique group. If you have any questions about how we run things or how we got started, please contact me! (margo@wow-womenonwriting.com)

Margo Dill
www.margodill.com

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4 comments children's writers, critique, critique groups

Criticism = Love

After you’ve tried your hardest at something, whether it’s writing an article or practicing soccer, do you get offended when your coach, friend, or colleague tells you that what you just did was wrong?

An angry soccer coach may scream, “Don’t kick the ball with your toe!” or “You’re doing it wrong!” The same goes for a writing partner, but the tone would probably be more constructive. “You should use an active voice here,” or “I can’t visualize the character. You need more description.”

The other day I watched Randy Pausch give his final lecture on Oprah. I was watching because I knew Kris Carr would be on there, and you know how much I love her! Her appearance was amazing, btw. And after she left the stage, Randy came on and recited part of his final lecture that he’d given to his students. He said a ‘final lecture’ is something that professors’ give based on the idea of a made-up assumption: pretend you’re going to die and this is the last speech you’ll ever make. But for Randy, it was true. He has cancer and was diagnosed with three months to live. The speech was dedicated to his kids and brought tears to my eyes... The whole thing was touching, inspiring, and heart warming. You can see it embedded below.

One thing that stood out for me was something he said about his little league coach. His coach was old school and would yell at him all practice, You’re doing it wrong, go back, do it again, you owe me pushups, etc. And after practice one of the assistant coaches came up to Randy and said, “You know the coach rode you pretty hard. That’s a good thing. That means he cares.”

Randy went on to say that if you’re doing a bad job and no one points it out to you that means they’ve given up on you. It was something that stuck with him, and it stuck with me too.

Sometimes we’re afraid to point things out or to criticize a co-worker, writing partner, or friend. With our helpful, womanly nature it’s much easier to let things slide—ignore the bad, and roll with the good. But this isn’t being helpful.

Now, sometimes our team and editors tend to “ride each other pretty hard,” as you’ll often see in our blog posts’ comments. We correct each other on terminology, grammar, spelling, and fact checking. This is only because we care about one another and want to bring out the best. This kind of criticism = love.

Here's the video with Randy Pausch -- check it out if you haven't seen it already!

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4 comments critique, Randy Pausch