First, I must apologize for the very long delay in blogging. Things have been hectic, and I have not had time for everything.
This post will be shorter than my usual, and it will not be full of links or resources. This is a personal journey, and as such, it will be my thoughts. Today, I want to comment -- briefly -- on writing from your experiences.
From the length of time that you have maybe noticed from my previous post to this one, a lot has happened. There has been family drama, the death of my great uncle, and other things which I do not wish to delve into.
A lot of drama and personal problems often results in a writer not writing. It happens to me, and it happens to those I know who also write. However, this is the perfect time to be writing. The experiences are ways to have you as a writer delve into the real pain, tragedies and personalities of characters. If you want your characters to be real, give them real emotions.
To learn those real emotions, examine your own emotions. Examine the emotions of those around you. That is how I try to make my characters real.
Crap happens.
Me, I'll use that crap to my advantage.
Once I get done digging out from a back log of other things I must get done, I will resume posting useful tidbits of information, but it will be at least another week or two until that point.
Cheers!
Tuesday, March 30, 2010
Thursday, February 25, 2010
Writing a Pitch
I have been hoo'ing and humming over writing this post for several weeks. It is something that is asked for frequently, but also something very difficult to actually write a guide for. There are several reasons for this. The most obvious one is that my experience with pitches is not as much as I could hope for it to be. This is one of my weaknesses.
That said, it doesn't seem productive if I just post to you a series of links that are on the subject of the pitch. That does not seem fair to you, who is struggling to make your way through the writing world just the same as I am.
That said, I have a great deal of experience pitching for freelance writing. Without a good pitch for this, I lose my contract to someone else. Because I charge more than the average person, I have to have a really good pitch to get any contracts at all. (For those of you not aware of the freelance writing market at the moment, it is not a good picture, as the demand for quality is far, far less than it used to be. Passable English suffices, which means many of the people want to hire those from India who charge significantly less than a cent per word for work.)
Now, onto the good stuff.
First, I would like to direct you to view the Post-Mortem of the pitch fest over at Johnson Literary. Unfortunately, the pitches themselves are long since gone, but this is a good overview of what was submitted.
Next, I would like to direct you to Elana Roth's Anatomy of a Query Letter. There are tied together as your pitch is an important element to your Query Letter.
However, as this is about the pitch itself and not about the Query Letter, let us focus on the Post-Mortem.
Let us begin with the initial statistics so kindly provided. Of 164 submissions, two survived the pitch to become full manuscript requests. This is a very low number, and a very good representation of what you need to do as a writer. There are lots of individuals putting out pitches. You need to learn how to present your story as one that stands out.
Four were invited to send in sample chapters. This is promising, but not quite as grabbing as those two who made their one hundred words go the distance.
That is right, ladies and gentleman. One hundred words was the limit for these pitches. And, an agent can tell, just from these one hundred words, whether or not they are interested in your story.
Before I go into my speech regarding the word count, I wish to point out that seventeen people did not follow Elana's directions on what she was looking for. You may think you are God's Gift to Readers, but unless the agent is interested in your style of writing, please don't submit to them. You are wasting your time and theirs.
That said, there is no reason you can't, if the situation provides itself, learn from these agents or even be professional acquaintances. Knowing people is a very good thing. Wasting their time is not. Please do not waste the time of these agents. They are busy enough without having to process a manuscript they cannot properly work with. You may have an interesting pitch, but these individuals represent a certain style of work because that is the type of work they enjoy reading and selling. Sure, a domesticated cat can hunt mice, but a dachshund is much better equipped to deal with a badger. Don't make your cat hunt a badger, it will end poorly for the cat.
Let us return to the Pitch Fest itself. First, the rules were simple. Each agent wrote a list of requirements for their pitches. They all wanted different types of stories, and were clear in what fields they were interested in. Then, there were a series of instructions. For example, no more than one hundred words. The paragraph below is exactly one hundred words so that you can see how much each writer was given to work with.
This is a demonstration of what one hundred words looks like. This is only to show you exactly how much space that these writers were given in order to present their characters and plot to an agent and get them completely interested in it. One hundred words, unfortunately, is not really a lot. However, it is sufficient to prove your writing skills and whether or not your story is interesting. With a required count so low, it is important that you understand that every word must count. Only then can you make your pitch as viable as you possibly can. I had the pleasure of reading the pitches before they were removed from the site. There were some interesting stories present. Some used as few as ten to fifteen words. Others used too many words! There were moments where I was scratching my head and wondering where the pitch was in their pitch. There were others that made me want to grab their book and read it.
Your goal, when you write a pitch, is to make the agent want to grab your book and read it.
This is strictly my opinion. I am no professional pitch mistress, and every agent wants something different in their pitches. However, this is what I picked up from talking to agents and reading pitches from others. I will call these Rebecca's Rules of Pitching.
1: Make every word count.
This should be obvious, but when you pitch, every word must count. If the word does not serve an immediate purpose, it should be removed. If it does not forward your pitch or add to the intensity of the story, it should be removed.
2: Pitch only to agents who are interested in your work.
Don't pitch a fantasy or science fiction novel to a romance agent. They won't be interested, no matter how interesting you think your book is. This applies to every genre. Don't send romance to science fiction agents, don't send non-fiction to a mystery agent. Pick your market properly.
3: Pitch to your market.
Every agent likes something different. Many agents have pet peeves. When you are considering pitching to an agent OR a publishing house, see if you can find blog posts or other information that reveals their pet peeves. See if you can find out what interests them. By pitching to a captive audience, you greatly increase your chances of a manuscript request. Remember, a pitch may or may not include chapters. You want your potential new agent to be alive with interest in your story before they pick up the first page to read.
4: Grammar. Use it.
Please try to use good grammar when you pitch. Your pitch is a presentation of your writing style. Don't close the door to an agent or publishing house through being lazy.
5: Love your pitch.
If you are not on fire with enthusiasm with the quality of your pitch, then it is not going to be suitable for an agent or publishing house. Enthusiasm is contagious. Agents can often detect, just from writing style and presentation, how much a writer puts into their story just from their pitch.
6: Grow thick skin. You'll need it.
Many writers will see many rejections before they see an acceptance. The same applies to your pitches.
These are points I've picked up from reading the experiences of other people. I do not know how well they will translate into how well I pitch.
I had been intending to show you some of the pitches for a 140 character or less pitch fest I did with some individuals during NaNoWriMo, but somehow, these pitches have disappeared. Seeing as I have people coming over in an hour or so to fix my cable, I need to get cleaning. This post is not nearly as long as I would like.
Perhaps I will revisit it someday, and that someday, I will even include pitches of my own to share.
That said, it doesn't seem productive if I just post to you a series of links that are on the subject of the pitch. That does not seem fair to you, who is struggling to make your way through the writing world just the same as I am.
That said, I have a great deal of experience pitching for freelance writing. Without a good pitch for this, I lose my contract to someone else. Because I charge more than the average person, I have to have a really good pitch to get any contracts at all. (For those of you not aware of the freelance writing market at the moment, it is not a good picture, as the demand for quality is far, far less than it used to be. Passable English suffices, which means many of the people want to hire those from India who charge significantly less than a cent per word for work.)
Now, onto the good stuff.
First, I would like to direct you to view the Post-Mortem of the pitch fest over at Johnson Literary. Unfortunately, the pitches themselves are long since gone, but this is a good overview of what was submitted.
Next, I would like to direct you to Elana Roth's Anatomy of a Query Letter. There are tied together as your pitch is an important element to your Query Letter.
However, as this is about the pitch itself and not about the Query Letter, let us focus on the Post-Mortem.
Let us begin with the initial statistics so kindly provided. Of 164 submissions, two survived the pitch to become full manuscript requests. This is a very low number, and a very good representation of what you need to do as a writer. There are lots of individuals putting out pitches. You need to learn how to present your story as one that stands out.
Four were invited to send in sample chapters. This is promising, but not quite as grabbing as those two who made their one hundred words go the distance.
That is right, ladies and gentleman. One hundred words was the limit for these pitches. And, an agent can tell, just from these one hundred words, whether or not they are interested in your story.
Before I go into my speech regarding the word count, I wish to point out that seventeen people did not follow Elana's directions on what she was looking for. You may think you are God's Gift to Readers, but unless the agent is interested in your style of writing, please don't submit to them. You are wasting your time and theirs.
That said, there is no reason you can't, if the situation provides itself, learn from these agents or even be professional acquaintances. Knowing people is a very good thing. Wasting their time is not. Please do not waste the time of these agents. They are busy enough without having to process a manuscript they cannot properly work with. You may have an interesting pitch, but these individuals represent a certain style of work because that is the type of work they enjoy reading and selling. Sure, a domesticated cat can hunt mice, but a dachshund is much better equipped to deal with a badger. Don't make your cat hunt a badger, it will end poorly for the cat.
Let us return to the Pitch Fest itself. First, the rules were simple. Each agent wrote a list of requirements for their pitches. They all wanted different types of stories, and were clear in what fields they were interested in. Then, there were a series of instructions. For example, no more than one hundred words. The paragraph below is exactly one hundred words so that you can see how much each writer was given to work with.
This is a demonstration of what one hundred words looks like. This is only to show you exactly how much space that these writers were given in order to present their characters and plot to an agent and get them completely interested in it. One hundred words, unfortunately, is not really a lot. However, it is sufficient to prove your writing skills and whether or not your story is interesting. With a required count so low, it is important that you understand that every word must count. Only then can you make your pitch as viable as you possibly can. I had the pleasure of reading the pitches before they were removed from the site. There were some interesting stories present. Some used as few as ten to fifteen words. Others used too many words! There were moments where I was scratching my head and wondering where the pitch was in their pitch. There were others that made me want to grab their book and read it.
Your goal, when you write a pitch, is to make the agent want to grab your book and read it.
This is strictly my opinion. I am no professional pitch mistress, and every agent wants something different in their pitches. However, this is what I picked up from talking to agents and reading pitches from others. I will call these Rebecca's Rules of Pitching.
1: Make every word count.
This should be obvious, but when you pitch, every word must count. If the word does not serve an immediate purpose, it should be removed. If it does not forward your pitch or add to the intensity of the story, it should be removed.
2: Pitch only to agents who are interested in your work.
Don't pitch a fantasy or science fiction novel to a romance agent. They won't be interested, no matter how interesting you think your book is. This applies to every genre. Don't send romance to science fiction agents, don't send non-fiction to a mystery agent. Pick your market properly.
3: Pitch to your market.
Every agent likes something different. Many agents have pet peeves. When you are considering pitching to an agent OR a publishing house, see if you can find blog posts or other information that reveals their pet peeves. See if you can find out what interests them. By pitching to a captive audience, you greatly increase your chances of a manuscript request. Remember, a pitch may or may not include chapters. You want your potential new agent to be alive with interest in your story before they pick up the first page to read.
4: Grammar. Use it.
Please try to use good grammar when you pitch. Your pitch is a presentation of your writing style. Don't close the door to an agent or publishing house through being lazy.
5: Love your pitch.
If you are not on fire with enthusiasm with the quality of your pitch, then it is not going to be suitable for an agent or publishing house. Enthusiasm is contagious. Agents can often detect, just from writing style and presentation, how much a writer puts into their story just from their pitch.
6: Grow thick skin. You'll need it.
Many writers will see many rejections before they see an acceptance. The same applies to your pitches.
These are points I've picked up from reading the experiences of other people. I do not know how well they will translate into how well I pitch.
I had been intending to show you some of the pitches for a 140 character or less pitch fest I did with some individuals during NaNoWriMo, but somehow, these pitches have disappeared. Seeing as I have people coming over in an hour or so to fix my cable, I need to get cleaning. This post is not nearly as long as I would like.
Perhaps I will revisit it someday, and that someday, I will even include pitches of my own to share.
Friday, January 29, 2010
Writing a Critique
I have covered how to accept a critique or criticism. Now, it is time to learn the art of writing a critique. This is a skill that many writers take for granted. There is a wealth of things that you can learn from taking the time to review other works that are not of your making.
Before we begin on the methods of how to write a critique, I am going to try to impress upon you the value of critiquing as I have experienced. This may not be truth for everyone. These are my experiences. At the end of this blog post, I will provide a wealth of information on what others think. For now, I will pursue my own thoughts and opinions.
1: The Value of the Skill
In order to critique, you must be a critic. You must look at writing with a new eye and judge every word. Every word must bear value and weight. The story must retain the simplified elegance that intrigues and captures.
If you can write a good critique for others, you are well on your way to being able to critique your own words. This is the true value of the skill.
When you see errors in other works, you will begin to identify those same errors in your own works. This is another added value of the skill.
When you correct grammar in someones work, you will begin to see how your own grammar is flawed. If you find a sentence that does not flow well, you may even search google to find out why it does not flow well, in efforts to teach the person you are critiquing. In turn, you learn a great deal more of the craft that you would if you had not taken the time to help someone else out.
As if these things were not benefit enough, there is a sheer, simple joy in sitting down and reading. You can see the starts of a story blooming before your eyes. If you are so fortunate, you can follow the story's progress towards a publisher. Should that great day come where that story is then published, you can bask in the glow of knowing you had helped that author along the way in some form or another.
To me, there is great value to the skill, and great value to the act of doing a critique or edit. There are days I sometimes wish to quit writing and become an editor just so that I can enjoy these benefits day to day. It would not be a bad life. However, I love telling stories even more than I love editing.
2: The lasting effect on others
When people set out to write a critique, it is often forgotten the lasting consequences of their critique on writers. Writers are often flighty folk who wear their heart on their sleeves. Even the most thick skinned of us fail at keeping some particularly stinging critiques from temporally crushing hopes.
In the worst of cases, these temporary emotions turn into permanent scars.
It saddens me to even acknowledge that I know a few former writers who have quit because of a critique written in such a way where it was meant to bring harm to the writer.
When you write a critique, you are supposed to be helping the person, not beating them down and crushing their hopes. Their words are not personal to you. Do not personally attack someone because of what they have written.
On the flip side of the coin, a writer *does* need to make efforts to believe that the critique is not a personal attack.
Karma comes and it goes. I hope for your sake you're on the right side of karma. A person who purposefully writes a hateful critique tends to get a slap to the face later down the road.
3: How best to benefit from writing a critique -- both as a receiver and a giver of critiques.
Like I mentioned in point #1, you benefit from writing a critique almost as much as the person who is receiving said critique. However, I find that I have to write a critique in a certain method in order to make the most of having written the critique.
I would like to call this the top ten list on things you should remember when critiquing.
While I often use 'you' in these points, please note that this is how *I* handle critiques when I write them.
First, I must find both the good with the bad. Finding the good may be harder in some pieces for others, but it forces me to focus and dig deeper into the point of the story. The same may be true for finding the bad in particularly good stories. It is sometimes actually harder to find 'bad' things about a good story than it is to find good things about what you view as a 'bad' one.
Second, you must learn diplomacy. You are allowed to be opinionated. You are allowed to be honest. However, learn to watch your mouth. I am opinionated, honest and stubborn all in one nice little package. That does not give me the right to Lord over someone as if their work is inferior to mine. There will always be someone more talented than you at writing in some form or another. You are critiquing to help someone else -- as well as yourself -- improve at writing. You are not critiquing to get a happy-good feeling. It will not kill you to be kind. It just means it may take a little longer to write that critique.
Third, you must take care with your words. This is not the same as diplomacy. If you are writing a critique on someone's writing, are they really going to take you seriously if you write: "Nice werk u did great job. U haz mad skillzors! Ur grammar here doesnt seem rite. Plz fix!"
Oh dear heavens, it hurt me just writing that. Unfortunately, I've seen it. And it made bits of my soul cry in agony. If I am critiquing someone, I should be writing at the best of my ability. The author I am writing the critique for deserves that much.
Fourth, do not waste their time. The time of an editor, agent and publisher is precious. When you submit to them, we do not wish to waste their time. The same applies in reverse. When you are critiquing, don't waste your time and do not waste theirs. This time is better spent correcting errors, critiquing new works, and improving yourself as an author.
Fifth, it takes one million bad words to write a good one. Writing a critique is writing. Ever word, every effort that you put in, goes towards improving your art at the craft. When you find a section of a story that seems 'off' or 'wrong' to you, try your hand at rewriting a suggestion for them. This allows you to practice your craft. At the same time, you may be able to help them overcome their issues with that section.
Sixth, confirm the use of your grammar before you lecture. If you spot a grammar error, hit google or another reference site and confirm that what you *think* is correct actually *is* correct. This will go a long way towards reinforcing your skills at the written craft without guiding anyone astray by accident.
Seventh, accept that they may not take your advice. A writer will often reply to a critique and thank you for the work you have done for them. Sometimes they will be rude and will not. However, accept the bitter fact that your advice is just that: it is advice that they can choose whether to accept or not.
Eighth, unless you are a paid editor, do not expect any favors (or cash) in return. Writers can be temper mental creatures. When you write a critique, do not expect anything in return except for what you learned as you tried to write the critique. If you get a critique in return of your own writing, be happy. Do not expect the same amount of work you put into your critique from them, however. This sets you up for being bitter in the end.
Ninth, do not hold a manuscript or story hostage. It concerns me that I feel the need to mention this. However, when you are writing a critique for someone, they are putting their trust in you not to expose their manuscript to harm. Treat it as you would their own. Do not steal from them, do not post your comments on public forums unless that is what they desire. The benefit to this is knowing not to make the mistake before you make it.
Finally, approach every story with an open mind. Critique genres that you are not used to critiquing. Explore new worlds. If you are a fantasy author, reading and critiquing a romance can be extremely valuable to you. After all, romance and love are emotions that people feel and experience. Why should your characters be any different? Exposing yourself to new things is never a bad thing. Your critiques of these genres may not be as useful at first, but they can make a significant difference to your own writing. Even if your critique lacks the sparkle of experts of those genres, the person receiving the critique will most likely respect the effort that you put into critiquing their manuscript.
4: How to Write a Critique
Onto the meat of this post. How exactly should one write a critique?
There are so many different ways to write a critique that I do not dare even try to go into them all. That is what the handy dandy list of critiquing methods and commentary from others at the bottom of this post is for.
What I will do is explain how I write a critique. In order to do this, I will expose you to a rough draft sampling of my epic fantasy piece. It is a small sampling which has not seen much sunlight or edits.
I hope you enjoy watching me tear new holes into myself critiquing my own writing. I didn't think to ask for a volunteer for a small passage of their work. The passage I have selected is one of my favorites. It was an experiment with writing about someones reaction to sudden deaths of those he knew. It was meant to set the tone for future parts of the novel as well. I apologize for the font differences.. Blogger is making fun of me as I try to do this. :(
All the background that you need is that a blizzard swept through a village with an environment rather similar to the tropics. I will put my self critiques in bold italics for easy spotting.
They continued their search. The brothers investigated each home with a detachment that Bion could not share. Every home told a different tale of death. Some were like Petrin’s, a calm release into a sleep that they would never awaken from. The first five homes they searched told that same tale.
I need to show Bion's lack of detachment, as well as the brothers' detachment rather than telling you about it. Things like, "No emotion showed on the brothers' faces as they peered into the ruins of the homes." should be added. A less 'fact by fact' tone needs to be taken with this paragraph to give it a deeper sense of being there.
It was the sixth that revealed the true horror of the killing cold.
Bion had gathered the courage to be the first to enter the home. In part, it was due to the fact that he was not intimately familiar with the couple who lived there. Riran and Marrany had been reclusive, quiet people. They had shown kindness to their neighbours, but respected distance and privacy. While older than Bion’s twenty four spans, they had not yet had children.
Show vs Tell, shame on me! (Egads, I did a lot of telling... I want to go pick a different section now. Mommy!)
Direct thought would be a good addition. For example,
I can do this, Bion straightened as he tentatively strode towards the door of Riran and Marrany's home. They do not have children. I do not know them well. This cannot hurt me.
Or so he hoped. Guilt at invading the privacy they had so carefully maintained warred with concern. Could they, unlike the others before them, still be alive?
Riran’s body lay close to the door. His limbs were sprawled, as though he had thrashed on the floor as he died. Unlike the others, his eyes were wide open in horror, ice crusting over most of his face. The roof had all but collapsed. Snow had fallen into the home, dusting Riran’s body.
I should probably describe wind sweeping in from the open roof above, blown snow drifting over the corpse rather than "the roof had all but collapsed..."
Bion stepped over the body, eyes searching the room.
Eyes searching the room is so cliche. Be gone, cliche! Be gone!
If Riran’s body had been disturbing, Marrany’s was grosteque. She had died naked, her hands clawing at the window as though she sought escape. Blood had frozen on her nails from where she had tried to claw through the wood and had only succeeded in tearing her fingers. Her body was pressed tight to the wall, one hand still clutching at the window sill above her head.
I like this paragraph. I will need to think on whether or not I wish to change it. At this moment in time, I do not.
Bile rose in Bion’s throat. He had enough dignity to make it outside before vomiting beside the house. His body shook from shock and cold. His vision blurred as he knelt in the snow. His hands clenched into fists, his breath coming in short, ragged gasps.
“We can stop,” Halens’ voice lacked all smugness, the short man opting for sympathy.
Change it to, "Halens' voice lacked his typical, high handed smugness. Scratch opting for... it is revealed in the following dialogue.
“I don’t want your sympathy,” Bion violently shook his head and forced himself back to his feet. Wiping his mouth on the back of his glove, he turned back towards the home in steely determination. “I’m not the one who is dead.”
I like Bion's reply here. It really shows a change of personality. He comes across very meek until this point. This is when the character starts standing up for himself.
It is harder to critique yourself than it is to critique someone else. I suggest you try to practice on yourself, as I have done here. You will learn a lot. If you can roleplay it better than I, talking to the author as if they were not you, you may be able to go far with it!
I will add the good with the bad as I go through the story. I add line edits, just as I did here. However, I make a point to mention brad points and *good* things at the *end* of the critique, and a disclaimer that I mean to make no offense.
That is my critiquing style in a nutshell.
Onto the resources! More resources are welcomed. If you know of any, please add a comment and I will edit them into this post.
On Writing Critiques:
RPI.edu
Writing World - Links
Creativity Portal
Suite 101 Article
Help with Writing Critiques
Experience Festival - Writing Critiques
Critique Groups:
Critique Circle
Critters Writing Workshop
Internet Writing Workshop
Before we begin on the methods of how to write a critique, I am going to try to impress upon you the value of critiquing as I have experienced. This may not be truth for everyone. These are my experiences. At the end of this blog post, I will provide a wealth of information on what others think. For now, I will pursue my own thoughts and opinions.
1: The Value of the Skill
In order to critique, you must be a critic. You must look at writing with a new eye and judge every word. Every word must bear value and weight. The story must retain the simplified elegance that intrigues and captures.
If you can write a good critique for others, you are well on your way to being able to critique your own words. This is the true value of the skill.
When you see errors in other works, you will begin to identify those same errors in your own works. This is another added value of the skill.
When you correct grammar in someones work, you will begin to see how your own grammar is flawed. If you find a sentence that does not flow well, you may even search google to find out why it does not flow well, in efforts to teach the person you are critiquing. In turn, you learn a great deal more of the craft that you would if you had not taken the time to help someone else out.
As if these things were not benefit enough, there is a sheer, simple joy in sitting down and reading. You can see the starts of a story blooming before your eyes. If you are so fortunate, you can follow the story's progress towards a publisher. Should that great day come where that story is then published, you can bask in the glow of knowing you had helped that author along the way in some form or another.
To me, there is great value to the skill, and great value to the act of doing a critique or edit. There are days I sometimes wish to quit writing and become an editor just so that I can enjoy these benefits day to day. It would not be a bad life. However, I love telling stories even more than I love editing.
2: The lasting effect on others
When people set out to write a critique, it is often forgotten the lasting consequences of their critique on writers. Writers are often flighty folk who wear their heart on their sleeves. Even the most thick skinned of us fail at keeping some particularly stinging critiques from temporally crushing hopes.
In the worst of cases, these temporary emotions turn into permanent scars.
It saddens me to even acknowledge that I know a few former writers who have quit because of a critique written in such a way where it was meant to bring harm to the writer.
When you write a critique, you are supposed to be helping the person, not beating them down and crushing their hopes. Their words are not personal to you. Do not personally attack someone because of what they have written.
On the flip side of the coin, a writer *does* need to make efforts to believe that the critique is not a personal attack.
Karma comes and it goes. I hope for your sake you're on the right side of karma. A person who purposefully writes a hateful critique tends to get a slap to the face later down the road.
3: How best to benefit from writing a critique -- both as a receiver and a giver of critiques.
Like I mentioned in point #1, you benefit from writing a critique almost as much as the person who is receiving said critique. However, I find that I have to write a critique in a certain method in order to make the most of having written the critique.
I would like to call this the top ten list on things you should remember when critiquing.
While I often use 'you' in these points, please note that this is how *I* handle critiques when I write them.
First, I must find both the good with the bad. Finding the good may be harder in some pieces for others, but it forces me to focus and dig deeper into the point of the story. The same may be true for finding the bad in particularly good stories. It is sometimes actually harder to find 'bad' things about a good story than it is to find good things about what you view as a 'bad' one.
Second, you must learn diplomacy. You are allowed to be opinionated. You are allowed to be honest. However, learn to watch your mouth. I am opinionated, honest and stubborn all in one nice little package. That does not give me the right to Lord over someone as if their work is inferior to mine. There will always be someone more talented than you at writing in some form or another. You are critiquing to help someone else -- as well as yourself -- improve at writing. You are not critiquing to get a happy-good feeling. It will not kill you to be kind. It just means it may take a little longer to write that critique.
Third, you must take care with your words. This is not the same as diplomacy. If you are writing a critique on someone's writing, are they really going to take you seriously if you write: "Nice werk u did great job. U haz mad skillzors! Ur grammar here doesnt seem rite. Plz fix!"
Oh dear heavens, it hurt me just writing that. Unfortunately, I've seen it. And it made bits of my soul cry in agony. If I am critiquing someone, I should be writing at the best of my ability. The author I am writing the critique for deserves that much.
Fourth, do not waste their time. The time of an editor, agent and publisher is precious. When you submit to them, we do not wish to waste their time. The same applies in reverse. When you are critiquing, don't waste your time and do not waste theirs. This time is better spent correcting errors, critiquing new works, and improving yourself as an author.
Fifth, it takes one million bad words to write a good one. Writing a critique is writing. Ever word, every effort that you put in, goes towards improving your art at the craft. When you find a section of a story that seems 'off' or 'wrong' to you, try your hand at rewriting a suggestion for them. This allows you to practice your craft. At the same time, you may be able to help them overcome their issues with that section.
Sixth, confirm the use of your grammar before you lecture. If you spot a grammar error, hit google or another reference site and confirm that what you *think* is correct actually *is* correct. This will go a long way towards reinforcing your skills at the written craft without guiding anyone astray by accident.
Seventh, accept that they may not take your advice. A writer will often reply to a critique and thank you for the work you have done for them. Sometimes they will be rude and will not. However, accept the bitter fact that your advice is just that: it is advice that they can choose whether to accept or not.
Eighth, unless you are a paid editor, do not expect any favors (or cash) in return. Writers can be temper mental creatures. When you write a critique, do not expect anything in return except for what you learned as you tried to write the critique. If you get a critique in return of your own writing, be happy. Do not expect the same amount of work you put into your critique from them, however. This sets you up for being bitter in the end.
Ninth, do not hold a manuscript or story hostage. It concerns me that I feel the need to mention this. However, when you are writing a critique for someone, they are putting their trust in you not to expose their manuscript to harm. Treat it as you would their own. Do not steal from them, do not post your comments on public forums unless that is what they desire. The benefit to this is knowing not to make the mistake before you make it.
Finally, approach every story with an open mind. Critique genres that you are not used to critiquing. Explore new worlds. If you are a fantasy author, reading and critiquing a romance can be extremely valuable to you. After all, romance and love are emotions that people feel and experience. Why should your characters be any different? Exposing yourself to new things is never a bad thing. Your critiques of these genres may not be as useful at first, but they can make a significant difference to your own writing. Even if your critique lacks the sparkle of experts of those genres, the person receiving the critique will most likely respect the effort that you put into critiquing their manuscript.
4: How to Write a Critique
Onto the meat of this post. How exactly should one write a critique?
There are so many different ways to write a critique that I do not dare even try to go into them all. That is what the handy dandy list of critiquing methods and commentary from others at the bottom of this post is for.
What I will do is explain how I write a critique. In order to do this, I will expose you to a rough draft sampling of my epic fantasy piece. It is a small sampling which has not seen much sunlight or edits.
I hope you enjoy watching me tear new holes into myself critiquing my own writing. I didn't think to ask for a volunteer for a small passage of their work. The passage I have selected is one of my favorites. It was an experiment with writing about someones reaction to sudden deaths of those he knew. It was meant to set the tone for future parts of the novel as well. I apologize for the font differences.. Blogger is making fun of me as I try to do this. :(
All the background that you need is that a blizzard swept through a village with an environment rather similar to the tropics. I will put my self critiques in bold italics for easy spotting.
They continued their search. The brothers investigated each home with a detachment that Bion could not share. Every home told a different tale of death. Some were like Petrin’s, a calm release into a sleep that they would never awaken from. The first five homes they searched told that same tale.
I need to show Bion's lack of detachment, as well as the brothers' detachment rather than telling you about it. Things like, "No emotion showed on the brothers' faces as they peered into the ruins of the homes." should be added. A less 'fact by fact' tone needs to be taken with this paragraph to give it a deeper sense of being there.
It was the sixth that revealed the true horror of the killing cold.
Bion had gathered the courage to be the first to enter the home. In part, it was due to the fact that he was not intimately familiar with the couple who lived there. Riran and Marrany had been reclusive, quiet people. They had shown kindness to their neighbours, but respected distance and privacy. While older than Bion’s twenty four spans, they had not yet had children.
Show vs Tell, shame on me! (Egads, I did a lot of telling... I want to go pick a different section now. Mommy!)
Direct thought would be a good addition. For example,
I can do this, Bion straightened as he tentatively strode towards the door of Riran and Marrany's home. They do not have children. I do not know them well. This cannot hurt me.
Or so he hoped. Guilt at invading the privacy they had so carefully maintained warred with concern. Could they, unlike the others before them, still be alive?
Riran’s body lay close to the door. His limbs were sprawled, as though he had thrashed on the floor as he died. Unlike the others, his eyes were wide open in horror, ice crusting over most of his face. The roof had all but collapsed. Snow had fallen into the home, dusting Riran’s body.
I should probably describe wind sweeping in from the open roof above, blown snow drifting over the corpse rather than "the roof had all but collapsed..."
Bion stepped over the body, eyes searching the room.
Eyes searching the room is so cliche. Be gone, cliche! Be gone!
If Riran’s body had been disturbing, Marrany’s was grosteque. She had died naked, her hands clawing at the window as though she sought escape. Blood had frozen on her nails from where she had tried to claw through the wood and had only succeeded in tearing her fingers. Her body was pressed tight to the wall, one hand still clutching at the window sill above her head.
I like this paragraph. I will need to think on whether or not I wish to change it. At this moment in time, I do not.
Bile rose in Bion’s throat. He had enough dignity to make it outside before vomiting beside the house. His body shook from shock and cold. His vision blurred as he knelt in the snow. His hands clenched into fists, his breath coming in short, ragged gasps.
“We can stop,” Halens’ voice lacked all smugness, the short man opting for sympathy.
Change it to, "Halens' voice lacked his typical, high handed smugness. Scratch opting for... it is revealed in the following dialogue.
“I don’t want your sympathy,” Bion violently shook his head and forced himself back to his feet. Wiping his mouth on the back of his glove, he turned back towards the home in steely determination. “I’m not the one who is dead.”
I like Bion's reply here. It really shows a change of personality. He comes across very meek until this point. This is when the character starts standing up for himself.
It is harder to critique yourself than it is to critique someone else. I suggest you try to practice on yourself, as I have done here. You will learn a lot. If you can roleplay it better than I, talking to the author as if they were not you, you may be able to go far with it!
I will add the good with the bad as I go through the story. I add line edits, just as I did here. However, I make a point to mention brad points and *good* things at the *end* of the critique, and a disclaimer that I mean to make no offense.
That is my critiquing style in a nutshell.
Onto the resources! More resources are welcomed. If you know of any, please add a comment and I will edit them into this post.
On Writing Critiques:
RPI.edu
Writing World - Links
Creativity Portal
Suite 101 Article
Help with Writing Critiques
Experience Festival - Writing Critiques
Critique Groups:
Critique Circle
Critters Writing Workshop
Internet Writing Workshop
Help, I've fallen and I can't get up! (Or how to resume writing if you have stopped)
Before I begin with this entry, I wanted to extend a kind thank you to those who have started to follow this blog and for those who have linked to specific entries, or even the blog itself! Your support is greatly appreciated.
I write this blog with no intent to profit or benefit from it beyond having taken the journey doing it. As you've probably noticed, I have not added ads to the blog, nor will I ever. I do not even have a donation button. So, that anyone has taken the time to respond to this blog at all is extremely valuable to me. I hope that you continue to enjoy and make use of the things I have learned.
In addition to this, I would like to point out -- once again -- that these are my opinions. I try to support my opinion with the opinions of other writers. Sometimes, I even find some facts out there on the internet! Please do not swallow every word I say with blind trust. I want every person who reads this blog to reach out and come to their own conclusions. If it happens to be inline with mine, that is wonderful.
Now, onto the real subject.
Something I hear about frequently is that a writer friend of mine has abandoned writing or has not picked up their pen in months. Some made the long haul for Nanowrimo and have since jumped off of the bandwagon. In some cases, they face-planted directly into a mud puddle. This often just adds insult to injury.
It causes a bit of pain to realize that I too have suffered from this syndrome. I think all writers do from time to time.
I have some insights that I have developed, oddly enough, without much influence from others. Writing is a very personal journey. For me, even more so. I'm fairly willing to hand out copies of my work to people who want to read if I have any trust in them whatsoever. However, until the moment I dedicated myself to posting to this blog as I became inspired to, I had not shared many of the details of the actual journey itself.
This post, I warn you now, is extremely personal for me. Because of this, I will be opinionated, stubborn and sometimes surly. I may even sound grumpy. (That may be due to the fact that it is 5:19 AM and I am looking at a draft with 61,661 words and I don't want to type a word because I really enjoy the look of that word count.)
Yes, I am procrastinating.
In order for this post to make sense, I will have to tell you a bit about two projects I am working on. This is relevant, because this is what I had to do to dig myself out of the latest hole I have buried myself in.
I will also warn you that this post meanders in all sorts of directions. If you're looking for the nice, neat and tidy posts you are used to. . . look away. Quickly. This is the union of a pig sty with chaos. This may sound angsty as well. In a way, it is. Emotions tend to be angsty things, and these are some of the darker emotions of writing.
The Projects!
Project One: My epic fantasy series. (As of yet, Untitled)
This is the novel series that I started with NaNoWriMo '09. I have 61,661 words to it at the moment. I have done some drafting, I have done some minor edits, and I have done a lot of world building for this story. I am writing slowly. After November, I admit to having done the inelegant face-plant directly into a pile of ....
... I'll let you imagine just what I fell into.
This story is my love child. It has been hard for me to write, however. I have strayed outside of my normal comfort zone and have not only pursued an epic, but I have pursued a story where people die. I have pursued a story that delves into grief, joy and difficulties. I have pursued a tale where a man must give up the things that he loves in the hopes of protecting them and giving them a future, only to find out that those hopes and those sacrifices meant nothing in the end.
I pursue a tale where men and women struggle for things that they believe in for the sake of people other than themselves. I pursue a tale where these same people then sacrifice those things they have fought so hard and long for in hopes of doing something purely for themselves.
This is a tale about building a future through a shroud of tragedy. It is a dark epic that finds glimmers of light in the oddest of places.
It is action and adventure paired with a little romance. And lust. (What is a good story without at least a little bit of lust, after all?)
I fell off the bandwagon on this story for a few reasons. As I mentioned before, it is difficult to write. I do not like writing of the deaths of people, even fictional. I have always been a fan of those stories where many people somehow manage to survive against all odds.
This time, I sacrificed those people. I let people die as is their fate. If someone is struck through the heart with an arrow, I allow them to bleed and become a statistic.
I have let main characters survive and die as necessary. After all, these people are but human, and humans are fragile.
So, I admit, I did get a keen sense of pleasure from killing off the random villages and describing their fates. There was something thrilling about the process. Also, there was something gleeful about making some of my friends squirm as I discomforted them.
I love a good, dark epic fantasy. So, this is my journey to write one. But I fell off! Woe is me.
Project Two: Ten Years Later (Tentatively titled: Darkest before the Dawn)
Yep. I revisited the world of the epic fantasy ten years later, on a different side of the continent that the main story takes place. Characters from the epic reappear. Ones who have not yet been introduced earn their keep. Ground work on "What Happened After?" is set into place. A few major players from the epic have minor roles, but are not the stars.
The star of this book is someone who does play a major role in the epic. However, she is not a major character, nor does she have a long term role. Her story did not begin until after she died and became a witch.
Er.. what?
In my world, in order to become a witch, you must first suffer fatal injuries. In a sense, it is a divine intervention of sorts. The powers of a witch are powers of nature, and a tie with nature that can only be completed once she (or he) has experienced all aspects of life. Including death.
If the person who dies is to be a witch, then he or she survives the injuries after walking through the shadows of death, of a sort. It is those "I have seen the light in the tunnel and somehow survived" type of people, who by all rights should have died. More people with the power to become a witch die than actually become a witch. It takes someone - or something - with a lot of dedication to keep one of these people from dying completely.
In this character's case, it was a bit of both.
This story is also a dark tale, at least at first. However, the main point of this story is a story of hope. It is the story of someone who has lost it all and has somehow survived despite that fact and has a glorious chance to take it all back. With an indominable spirit and a desire for vengeance, this witch goes on to not only serve justice, but to reclaim everything that she has lost.
It also touches into grief and healing, but is mostly a feel-good story about someone who does overcome those odds.
This novel was how I picked myself up off of the ground.
How I stood back up
After NaNoWriMo '09 ended, I think I wrote maybe 1,000 words a week total. Of which I deleted more words than I added. Very counterproductive, that. In furstration, I put it aside completely at the end of December, flailing in general. Who doesn't, sometimes?
I knew where I wanted to go with this story. I worked hard poking at it, but the inspiration that is still with me was having trouble coming to the surface. It is a form of writer's block, but somewhat different. I had the entire story, I knew what I needed to write, I knew what was happening in the scene. I just could not get myself to type the words onto the computer.
When coupled with a general sense of failure, this can result in tragedy for a writer. And the inability to put words to the page.
So, I asked my husband one day to buy me some writing journal or another. I wanted to jot down some story idea or another that was rattling in my brain.
He came out of the store with a pack of four 16 sheet journals.
Truly, these were the bestestestest things I have ever laid my eyes on. I squealed. There is a yellow, a blue, a green and a pink journal in each pack.
My creative juices had a collective freak fit and went into a state of catatonic shock. Who ever would have thought something so simple as a 16 sheet writing journal could make such a difference?
Armed with these journals, I began to write random stories. I had two false starts before I found project #2 kicking around in my skull.
The first 24 hours resulted in 6,400 handwritten words.
By the weekend, I had 12,800 and had the starts to a story I was really satisfied with.
After the shine wore off a bit, I found myself right back to where I had left off: saddened, discouraged and thinking I would never get a project properly finished, edited and out the door.
I took a step back, blogged a bit to motivate myself, and glared at my computer.
Then, I fell onto the solution of my problem.
Belief.
For one critical moment, I believed I could do this. I just had to figure out how. So, I made this expression at my computer and my writing paper: >:|
Project One is my dream novel(s). It is the story I wish to publish and share with the world. I had reached that precipice and stared into the abyss. The abyss stared back and mocked me.
No one is going to help pick you up when you fall. You must do it on your own. I realized this and started trying to find out just how to do it. I sat on my rump and reflected and found that I still had that critical belief in myself. It had just gone into hiding into some dark, dusty corner. It was a skeleton in my closet.
Just to repeat this: No one is going to help pick you up when you fall.
People will say kind things and try to help, but only you can help you get back up at the end of the day.
This is kind of painful to write about. And embarrassing. But, I am human, so there we have it.
Again, just in case the first two times weren't opinionated and stubborn enough:
If you want to be a writer, stop relying on other people to pick you up and start relying on you. People, like me, will tell you kind words or mean ones trying to motivate you. But at the end of the day, when you fall in the mud, you need to believe that you can stand back up. An agent may love your story, an editor may shower you with praise. A publication house may pick up your story. However, none of this will ever happen if you do not believe that you can make it happen.
Now, onto the next stage of recovery:
Remembering to Write
Life gets in the way. Some of the time, I just forgot to fit writing into my day. I got distracted by shiny objects or by how warm and comfortable my bed really was and how much I enjoyed sleeping.
I cannot tell you how to remember to write each day! I fail at it miserably enough. (I am one week in of non interrupted writing. I feel like I'm succeeding at rehab.)
One tip I can suggest: Never ever take a day off completely. Write one sentence at a minimum. Once I fail to do that, it is sometimes a month before I pick up my pen again, which is totally unacceptable if I wish to become a professional author, as I do wish to do.
Finally, making progress!
Once you have gotten back up, it is easier to stay on the horse than to get back on after you have fallen. Train yourself not to give up. Once you do, you have to go back and find those shreds of belief and motivate yourself. This is hard. Oh, is it ever hard. But if you sit there and tell yourself that you can do it AND you actually do it, good things will happen.
Oh, yes. Good things will happen.
Believe. Remember to Write. Make it Happen.
Three very simple things that are extremely difficult to do. But, I stand by it. Hindsight is rather good for me, and each time I have fallen off, this is exactly how I ended up getting back up on the saddle and riding off towards that gorgeous sunset.
Now, as soon as I submit this and drink some tea to soothe my frayed nerves, I will exceed that shiny 61,661 word count. I want 75,000 by Monday, and they will not write themselves down.
By Friday, I want 85,000.
Two weeks from now, I want 100,000.
Can I do it?
I don't know. But I'm back up on the saddle, and I refuse to fall just yet. If I do, I will get back up.
But, I can thank four little 16 sheet writing journals and Project Two for helping me get the courage to resume on Project One. I will continue to write Project Two as a reward, but I have rededicated my focus back onto Project One where it properly belongs.
I would like to note that I had five spelling mistakes in this entire entry. For writing at 5-6 AM, not bad!
Also, a piece of advice before I find some fancy schmancy quotes to share: Do not forget to take your tea bag out of your water. It leaves unpleasant surprises an hour later.
Quotes on Motivation, Inspiration and anything else I feel interesting at this hour:
I write this blog with no intent to profit or benefit from it beyond having taken the journey doing it. As you've probably noticed, I have not added ads to the blog, nor will I ever. I do not even have a donation button. So, that anyone has taken the time to respond to this blog at all is extremely valuable to me. I hope that you continue to enjoy and make use of the things I have learned.
In addition to this, I would like to point out -- once again -- that these are my opinions. I try to support my opinion with the opinions of other writers. Sometimes, I even find some facts out there on the internet! Please do not swallow every word I say with blind trust. I want every person who reads this blog to reach out and come to their own conclusions. If it happens to be inline with mine, that is wonderful.
Now, onto the real subject.
Something I hear about frequently is that a writer friend of mine has abandoned writing or has not picked up their pen in months. Some made the long haul for Nanowrimo and have since jumped off of the bandwagon. In some cases, they face-planted directly into a mud puddle. This often just adds insult to injury.
It causes a bit of pain to realize that I too have suffered from this syndrome. I think all writers do from time to time.
I have some insights that I have developed, oddly enough, without much influence from others. Writing is a very personal journey. For me, even more so. I'm fairly willing to hand out copies of my work to people who want to read if I have any trust in them whatsoever. However, until the moment I dedicated myself to posting to this blog as I became inspired to, I had not shared many of the details of the actual journey itself.
This post, I warn you now, is extremely personal for me. Because of this, I will be opinionated, stubborn and sometimes surly. I may even sound grumpy. (That may be due to the fact that it is 5:19 AM and I am looking at a draft with 61,661 words and I don't want to type a word because I really enjoy the look of that word count.)
Yes, I am procrastinating.
In order for this post to make sense, I will have to tell you a bit about two projects I am working on. This is relevant, because this is what I had to do to dig myself out of the latest hole I have buried myself in.
I will also warn you that this post meanders in all sorts of directions. If you're looking for the nice, neat and tidy posts you are used to. . . look away. Quickly. This is the union of a pig sty with chaos. This may sound angsty as well. In a way, it is. Emotions tend to be angsty things, and these are some of the darker emotions of writing.
The Projects!
Project One: My epic fantasy series. (As of yet, Untitled)
This is the novel series that I started with NaNoWriMo '09. I have 61,661 words to it at the moment. I have done some drafting, I have done some minor edits, and I have done a lot of world building for this story. I am writing slowly. After November, I admit to having done the inelegant face-plant directly into a pile of ....
... I'll let you imagine just what I fell into.
This story is my love child. It has been hard for me to write, however. I have strayed outside of my normal comfort zone and have not only pursued an epic, but I have pursued a story where people die. I have pursued a story that delves into grief, joy and difficulties. I have pursued a tale where a man must give up the things that he loves in the hopes of protecting them and giving them a future, only to find out that those hopes and those sacrifices meant nothing in the end.
I pursue a tale where men and women struggle for things that they believe in for the sake of people other than themselves. I pursue a tale where these same people then sacrifice those things they have fought so hard and long for in hopes of doing something purely for themselves.
This is a tale about building a future through a shroud of tragedy. It is a dark epic that finds glimmers of light in the oddest of places.
It is action and adventure paired with a little romance. And lust. (What is a good story without at least a little bit of lust, after all?)
I fell off the bandwagon on this story for a few reasons. As I mentioned before, it is difficult to write. I do not like writing of the deaths of people, even fictional. I have always been a fan of those stories where many people somehow manage to survive against all odds.
This time, I sacrificed those people. I let people die as is their fate. If someone is struck through the heart with an arrow, I allow them to bleed and become a statistic.
I have let main characters survive and die as necessary. After all, these people are but human, and humans are fragile.
So, I admit, I did get a keen sense of pleasure from killing off the random villages and describing their fates. There was something thrilling about the process. Also, there was something gleeful about making some of my friends squirm as I discomforted them.
I love a good, dark epic fantasy. So, this is my journey to write one. But I fell off! Woe is me.
Project Two: Ten Years Later (Tentatively titled: Darkest before the Dawn)
Yep. I revisited the world of the epic fantasy ten years later, on a different side of the continent that the main story takes place. Characters from the epic reappear. Ones who have not yet been introduced earn their keep. Ground work on "What Happened After?" is set into place. A few major players from the epic have minor roles, but are not the stars.
The star of this book is someone who does play a major role in the epic. However, she is not a major character, nor does she have a long term role. Her story did not begin until after she died and became a witch.
Er.. what?
In my world, in order to become a witch, you must first suffer fatal injuries. In a sense, it is a divine intervention of sorts. The powers of a witch are powers of nature, and a tie with nature that can only be completed once she (or he) has experienced all aspects of life. Including death.
If the person who dies is to be a witch, then he or she survives the injuries after walking through the shadows of death, of a sort. It is those "I have seen the light in the tunnel and somehow survived" type of people, who by all rights should have died. More people with the power to become a witch die than actually become a witch. It takes someone - or something - with a lot of dedication to keep one of these people from dying completely.
In this character's case, it was a bit of both.
This story is also a dark tale, at least at first. However, the main point of this story is a story of hope. It is the story of someone who has lost it all and has somehow survived despite that fact and has a glorious chance to take it all back. With an indominable spirit and a desire for vengeance, this witch goes on to not only serve justice, but to reclaim everything that she has lost.
It also touches into grief and healing, but is mostly a feel-good story about someone who does overcome those odds.
This novel was how I picked myself up off of the ground.
How I stood back up
After NaNoWriMo '09 ended, I think I wrote maybe 1,000 words a week total. Of which I deleted more words than I added. Very counterproductive, that. In furstration, I put it aside completely at the end of December, flailing in general. Who doesn't, sometimes?
I knew where I wanted to go with this story. I worked hard poking at it, but the inspiration that is still with me was having trouble coming to the surface. It is a form of writer's block, but somewhat different. I had the entire story, I knew what I needed to write, I knew what was happening in the scene. I just could not get myself to type the words onto the computer.
When coupled with a general sense of failure, this can result in tragedy for a writer. And the inability to put words to the page.
So, I asked my husband one day to buy me some writing journal or another. I wanted to jot down some story idea or another that was rattling in my brain.
He came out of the store with a pack of four 16 sheet journals.
Truly, these were the bestestestest things I have ever laid my eyes on. I squealed. There is a yellow, a blue, a green and a pink journal in each pack.
My creative juices had a collective freak fit and went into a state of catatonic shock. Who ever would have thought something so simple as a 16 sheet writing journal could make such a difference?
Armed with these journals, I began to write random stories. I had two false starts before I found project #2 kicking around in my skull.
The first 24 hours resulted in 6,400 handwritten words.
By the weekend, I had 12,800 and had the starts to a story I was really satisfied with.
After the shine wore off a bit, I found myself right back to where I had left off: saddened, discouraged and thinking I would never get a project properly finished, edited and out the door.
I took a step back, blogged a bit to motivate myself, and glared at my computer.
Then, I fell onto the solution of my problem.
Belief.
For one critical moment, I believed I could do this. I just had to figure out how. So, I made this expression at my computer and my writing paper: >:|
Project One is my dream novel(s). It is the story I wish to publish and share with the world. I had reached that precipice and stared into the abyss. The abyss stared back and mocked me.
No one is going to help pick you up when you fall. You must do it on your own. I realized this and started trying to find out just how to do it. I sat on my rump and reflected and found that I still had that critical belief in myself. It had just gone into hiding into some dark, dusty corner. It was a skeleton in my closet.
Just to repeat this: No one is going to help pick you up when you fall.
People will say kind things and try to help, but only you can help you get back up at the end of the day.
This is kind of painful to write about. And embarrassing. But, I am human, so there we have it.
Again, just in case the first two times weren't opinionated and stubborn enough:
If you want to be a writer, stop relying on other people to pick you up and start relying on you. People, like me, will tell you kind words or mean ones trying to motivate you. But at the end of the day, when you fall in the mud, you need to believe that you can stand back up. An agent may love your story, an editor may shower you with praise. A publication house may pick up your story. However, none of this will ever happen if you do not believe that you can make it happen.
Now, onto the next stage of recovery:
Remembering to Write
Life gets in the way. Some of the time, I just forgot to fit writing into my day. I got distracted by shiny objects or by how warm and comfortable my bed really was and how much I enjoyed sleeping.
I cannot tell you how to remember to write each day! I fail at it miserably enough. (I am one week in of non interrupted writing. I feel like I'm succeeding at rehab.)
One tip I can suggest: Never ever take a day off completely. Write one sentence at a minimum. Once I fail to do that, it is sometimes a month before I pick up my pen again, which is totally unacceptable if I wish to become a professional author, as I do wish to do.
Finally, making progress!
Once you have gotten back up, it is easier to stay on the horse than to get back on after you have fallen. Train yourself not to give up. Once you do, you have to go back and find those shreds of belief and motivate yourself. This is hard. Oh, is it ever hard. But if you sit there and tell yourself that you can do it AND you actually do it, good things will happen.
Oh, yes. Good things will happen.
Believe. Remember to Write. Make it Happen.
Three very simple things that are extremely difficult to do. But, I stand by it. Hindsight is rather good for me, and each time I have fallen off, this is exactly how I ended up getting back up on the saddle and riding off towards that gorgeous sunset.
Now, as soon as I submit this and drink some tea to soothe my frayed nerves, I will exceed that shiny 61,661 word count. I want 75,000 by Monday, and they will not write themselves down.
By Friday, I want 85,000.
Two weeks from now, I want 100,000.
Can I do it?
I don't know. But I'm back up on the saddle, and I refuse to fall just yet. If I do, I will get back up.
But, I can thank four little 16 sheet writing journals and Project Two for helping me get the courage to resume on Project One. I will continue to write Project Two as a reward, but I have rededicated my focus back onto Project One where it properly belongs.
I would like to note that I had five spelling mistakes in this entire entry. For writing at 5-6 AM, not bad!
Also, a piece of advice before I find some fancy schmancy quotes to share: Do not forget to take your tea bag out of your water. It leaves unpleasant surprises an hour later.
Quotes on Motivation, Inspiration and anything else I feel interesting at this hour:
- Dreams are extremely important. You can’t do it unless you imagine it. – George Lucas
- A man is not old until regrets take the place of dreams. - John Barrymore
- The man who goes farthest is generally the one who is willing to do and dare. The sure-thing boat never gets far from shore. - Dale Carnegie
- Strength does not come from physical capacity. It comes from an indomitable will. - Mahatma Gandhi
- The world is full of willing people, some willing to work, the rest willing to let them. - Robert Frost
- The difference between the impossible and the possible lies in a person's determination. - Tommy Lasorda
- The price of success is hard work, dedication to the job at hand, and the determination that whether we win or lose, we have applied the best of ourselves to the task at hand. - Vince Lombardi
- One’s best success comes after his greatest disappointments. - Henry Ward Beecher
- Don’t be afraid to take a big step if one is indicated. You can’t cross a chasm in two small jumps. - David Lloyd George
- A man's doubts and fears are his worst enemies. – William Wrigley Jr.
- Failures are divided into two classes - those who thought and never did, and those who did and never thought. - John Charles Salak
Thursday, January 28, 2010
Accepting Criticism and Critiques
Every novelist, every short story writer, every student and every person who has picked up a pen or pencil has encountered criticism in their life. Whether it is for work, school or play, the beautiful or ugly head of the critique will rear up and take nibbles from your written words. This can be a painful or a liberating process, depending on just how harsh the critique is and how thin (or thick) your skin is.
This blog post is intended for anyone who enjoys to write. It does not have to be for the science fiction or fantasy author. This blog post is intended for anyone who wishes to pick up a pen and express themselves on paper.
In fact, this is intended for anyone who has ever had the urge to get up and create something unique to themselves.
Having the courage to accept a critique and criticism is difficult for many people. Writers, painters and artists of all types tend to be emotional about their work. It is through dedication, passion and love of the craft that many pick up the pen, the brush or their instruments and struggle to make their art something that can be shared with others.
Some people never get the courage to share their works with others at all, which is the greatest tragedy of all.
Now that I have the little intro out of the way, let us dive down into the meat of this subject!
1: Asking for Critiques and Criticism
The first step to successfully surviving a critique is knowing how to ask for a critique. Every editor, reader or author critiques writing differently. If you just tell a person to "read my work and give me feedback", you may be setting yourself up for a lot of trouble. A *lot* of trouble.
Allow me to explain.
Feedback covers a lot of ground. Another writer who is reading your piece may work very hard to provide a meaningful critique that covers aspects of your story that need correction. They may, in the course of writing the critique, comment on your characters, your writing style, your dialog, your scene set-up and much, much more. They may find those little plot bunnies that have nested in important places. They might even locate discrepancies on the appearance of your characters.
For someone who is new to accepting critiques, this can be devastating. Thick skin is not something most people have in large amounts just as they begin. Because of this, you may wish to ask for certain things when you seek a critique.
Ask questions. This will help those who are critiquing know what you are looking for. If you need help with grammar, ask for advice on how to improve your grammar. Directed criticism is easier to swallow and can be extremely useful. In addition to this, if the critiquer knows that you need help with your grammar, they may explain the *why* to the rules, and not just point out that you have broken them.
In addition to this, you will want to ask your readers to avoid certain subjects if you are not comfortable with them, or you are already *so* well aware you have problems with them. This can let the reader know you're aware of the problem. That saves them time and allows them to focus their attention elsewhere. If you have thin skin syndrome, you can limit the amount of critiquing you have to swallow at any one given time.
2: Who to ask for Critiques and Criticism
If the first half of the battle is knowing what to get critiqued on, the second half is knowing who to ask for the critiques. There are many characteristics to good and bad critiquing partners. I can not sit here, hold your hand, and tell you exactly what makes a good partner for you. This is a personal process.
However, I can tell you what I look for in a partner.
First, I look for three or four basic types of people:
1: The Reader
2: The Writer
3: The Editor / Grammar Nazi
4: None of the Above
1: The Reader
This person loves books. They love reading the genre I am writing. They will dive into a story of any length and plow through it to the bitter end. They love to read.
This is the type of person I want *buying* my book. If I can't hold this person's attention, all of my work and effort has been done for nothing.
Unfortunately, it often defeats the purpose to ask 'The Reader' for specific critiques. Their feedback is so vital I tell these people to "Write whatever they feel at the time they read. It is important."
This type of critique tends to hurt the most. Why? I can't really tell them not to hit on any subject, and they are not writers. Their honesty is most valuable, but is also the most painful for me to cope with.
2: The Writer
This is your direct peer. The writer is that person who is taking the same exact journey that you are. They are trying to write a book they can share with others!
Writers tend to get together in packs. In a way, critiques from writers is similar to herding cats. There are know-it-all writers, writers with no confidence, and writers with too much confidence. There are those who are afraid to critique you honestly in fear that you will be harsh on their writing. Getting a critique from a writer is very much like reaching blindly into a bag of candies and hoping for that one type of chocolate bar that you really like.
Usually, you will get the tootsie roll. That is great, if you like tootsie rolls.
That said, I have gotten some very useful critiques from writers, but you need to be aware that getting critiques from your peer group can have its risks.
Sugar coating may be found in thick, sticky, gooey supply from this category of individuals.
3: The Editor
If you have an editor in your pocket, treat him or her like they are crafted of fine crystal and pay them in gold. They are worth their weight in it. An editor is often a reader and a writer, and blend the best of both worlds. They know the craft. They know their business.
You can trust an editor to be honest with you. It does not profit them in any way not to be honest. However, there are a few things you do need to keep in mind.
Not all editors are created equal, and not all editors are out to get you published. If you have an editor in your pocket, ask yourself if this person is actually an editor, or if they are a talented writer with editing tendencies. When I say editor, I mean a true editor: that poor person who spends their day leashed to a desk reading our manuscripts on a day to day basis.
Writer beware: an Editor is often constrained on time. As such, they will not sugar coat their commentary. Thick skin is definitely a requirement.
4: None of the Above
What? This doesn't make sense?
Sure, it does. If you have a friend who is neither a reader, editor *or* a writer, but is willing to read your book anyway, you may have something truly special.
Most people are aware of the phenomena of Twilight and Harry Potter. These books, somehow, not only snapped up the attention of those who like to read, but they grabbed those who typically did not as well.
Knowing how your book ranks among those who don't usually like to read can give you some surprising insight. You may even target those who *do* read, but don't read your genre. Either way, thick skin is required, but there is a lot to learn from those poor victims you manage to subject to your work who wouldn't typically pick your book up while in a bookstore. In fact, getting these people into a bookstore in the first place might have taken a miracle if they weren't your friends already.
3: Developing Thick Skin
So, you have identified the types of people you want to get critiques from and you have put some thought into what questions you wish to ask. Now, you need to know what to do with the critiques you do get.
First thing should come first: develop some thick skin.
The first critiques you receive may put you on edge. They may make you want to quit writing because you have been told just how terrible your writing is by someone.
First, it is okay to get upset. However, get upset in private. Never let your critiquer know you have gotten upset. Deep breaths.
This is the first stage of developing thick skin. Repeat the process until you can sit at your computer and feel like your chest is tight, but you can accept the words written on your screen. It hurts, but it helps.
Not all writers will have problems developing thick skin. However, you will only get thick skin if you subject yourself to enough critiques. It truly is a chicken and egg situation.
4: Making use of the Critique
Now it is time for you to make sense of the critique.
Read every bit of the critique before you put any serious thought into anything written in the critique. Everyone writes a critique differently. They may be disjointed, with some thoughts tying into commentary found at the end of the critique. Plow through the critique and make certain you have read all of the commentary first.
Next, go over the critique again and see what immediate points make sense. Take notes on the obvious corrections. Don't implement them now, but make certain you are aware of the changes you want to make.
The rest of the critique you will need to evaluate carefully. Does the critiquer bring up a good point, but you do not know how to deal with it? Does the critiquer mention something that makes absolutely no sense to you?
Does the critiquer comment on something that gets explained later? Sometimes pacing your novel to reveal important details can be difficult. Could this be an indicator you have failed at it?
Every critique is the *opinion* of the writer of the critique. You do not have to make use of the suggestions made in that critique. However, if you asked for a critique, it is your responsibility to at least take the time to properly read through the critique.
Yes, even if the person writing the critique seems to be a hater who wants to bring you down. Amidst their hate, they may have painful little truths that can do your book a world of good. Don't rashly discard a critique because you do not like what is written within it. This may be one of the biggest mistakes that you can make as a writer.
5: Give yourself some time
There are some errors, such as a grammar error, or a misspelling, that could use immediate repair. However, I would always put a week's worth of time between a critique and making changes if possible. This will give you adequate cool-down time and also permit you to clearly think of the best way to improve your story.
Granted, some people do not have the luxury of this time. Especially with looming deadlines.
What others have to say on Critiquing and Criticism
This would not be a very good resource blog if I did not include resources on critiquing and criticism.
Information on how to critique a novel: (I am not responsible for some of the horrendous colours found on these pages. My apologies, but the information was quite useful, even if I could live without the neon pink.)
Writing a Critique
How to Critique Fiction - Victoria Crayne
Vancouver Public Library - Novel Critique Section
Fiction Factor
And as a treat, a few quotes for your reading pleasure!
This blog post is intended for anyone who enjoys to write. It does not have to be for the science fiction or fantasy author. This blog post is intended for anyone who wishes to pick up a pen and express themselves on paper.
In fact, this is intended for anyone who has ever had the urge to get up and create something unique to themselves.
Having the courage to accept a critique and criticism is difficult for many people. Writers, painters and artists of all types tend to be emotional about their work. It is through dedication, passion and love of the craft that many pick up the pen, the brush or their instruments and struggle to make their art something that can be shared with others.
Some people never get the courage to share their works with others at all, which is the greatest tragedy of all.
Now that I have the little intro out of the way, let us dive down into the meat of this subject!
1: Asking for Critiques and Criticism
The first step to successfully surviving a critique is knowing how to ask for a critique. Every editor, reader or author critiques writing differently. If you just tell a person to "read my work and give me feedback", you may be setting yourself up for a lot of trouble. A *lot* of trouble.
Allow me to explain.
Feedback covers a lot of ground. Another writer who is reading your piece may work very hard to provide a meaningful critique that covers aspects of your story that need correction. They may, in the course of writing the critique, comment on your characters, your writing style, your dialog, your scene set-up and much, much more. They may find those little plot bunnies that have nested in important places. They might even locate discrepancies on the appearance of your characters.
For someone who is new to accepting critiques, this can be devastating. Thick skin is not something most people have in large amounts just as they begin. Because of this, you may wish to ask for certain things when you seek a critique.
Ask questions. This will help those who are critiquing know what you are looking for. If you need help with grammar, ask for advice on how to improve your grammar. Directed criticism is easier to swallow and can be extremely useful. In addition to this, if the critiquer knows that you need help with your grammar, they may explain the *why* to the rules, and not just point out that you have broken them.
In addition to this, you will want to ask your readers to avoid certain subjects if you are not comfortable with them, or you are already *so* well aware you have problems with them. This can let the reader know you're aware of the problem. That saves them time and allows them to focus their attention elsewhere. If you have thin skin syndrome, you can limit the amount of critiquing you have to swallow at any one given time.
2: Who to ask for Critiques and Criticism
If the first half of the battle is knowing what to get critiqued on, the second half is knowing who to ask for the critiques. There are many characteristics to good and bad critiquing partners. I can not sit here, hold your hand, and tell you exactly what makes a good partner for you. This is a personal process.
However, I can tell you what I look for in a partner.
First, I look for three or four basic types of people:
1: The Reader
2: The Writer
3: The Editor / Grammar Nazi
4: None of the Above
1: The Reader
This person loves books. They love reading the genre I am writing. They will dive into a story of any length and plow through it to the bitter end. They love to read.
This is the type of person I want *buying* my book. If I can't hold this person's attention, all of my work and effort has been done for nothing.
Unfortunately, it often defeats the purpose to ask 'The Reader' for specific critiques. Their feedback is so vital I tell these people to "Write whatever they feel at the time they read. It is important."
This type of critique tends to hurt the most. Why? I can't really tell them not to hit on any subject, and they are not writers. Their honesty is most valuable, but is also the most painful for me to cope with.
2: The Writer
This is your direct peer. The writer is that person who is taking the same exact journey that you are. They are trying to write a book they can share with others!
Writers tend to get together in packs. In a way, critiques from writers is similar to herding cats. There are know-it-all writers, writers with no confidence, and writers with too much confidence. There are those who are afraid to critique you honestly in fear that you will be harsh on their writing. Getting a critique from a writer is very much like reaching blindly into a bag of candies and hoping for that one type of chocolate bar that you really like.
Usually, you will get the tootsie roll. That is great, if you like tootsie rolls.
That said, I have gotten some very useful critiques from writers, but you need to be aware that getting critiques from your peer group can have its risks.
Sugar coating may be found in thick, sticky, gooey supply from this category of individuals.
3: The Editor
If you have an editor in your pocket, treat him or her like they are crafted of fine crystal and pay them in gold. They are worth their weight in it. An editor is often a reader and a writer, and blend the best of both worlds. They know the craft. They know their business.
You can trust an editor to be honest with you. It does not profit them in any way not to be honest. However, there are a few things you do need to keep in mind.
Not all editors are created equal, and not all editors are out to get you published. If you have an editor in your pocket, ask yourself if this person is actually an editor, or if they are a talented writer with editing tendencies. When I say editor, I mean a true editor: that poor person who spends their day leashed to a desk reading our manuscripts on a day to day basis.
Writer beware: an Editor is often constrained on time. As such, they will not sugar coat their commentary. Thick skin is definitely a requirement.
4: None of the Above
What? This doesn't make sense?
Sure, it does. If you have a friend who is neither a reader, editor *or* a writer, but is willing to read your book anyway, you may have something truly special.
Most people are aware of the phenomena of Twilight and Harry Potter. These books, somehow, not only snapped up the attention of those who like to read, but they grabbed those who typically did not as well.
Knowing how your book ranks among those who don't usually like to read can give you some surprising insight. You may even target those who *do* read, but don't read your genre. Either way, thick skin is required, but there is a lot to learn from those poor victims you manage to subject to your work who wouldn't typically pick your book up while in a bookstore. In fact, getting these people into a bookstore in the first place might have taken a miracle if they weren't your friends already.
3: Developing Thick Skin
So, you have identified the types of people you want to get critiques from and you have put some thought into what questions you wish to ask. Now, you need to know what to do with the critiques you do get.
First thing should come first: develop some thick skin.
The first critiques you receive may put you on edge. They may make you want to quit writing because you have been told just how terrible your writing is by someone.
First, it is okay to get upset. However, get upset in private. Never let your critiquer know you have gotten upset. Deep breaths.
This is the first stage of developing thick skin. Repeat the process until you can sit at your computer and feel like your chest is tight, but you can accept the words written on your screen. It hurts, but it helps.
Not all writers will have problems developing thick skin. However, you will only get thick skin if you subject yourself to enough critiques. It truly is a chicken and egg situation.
4: Making use of the Critique
Now it is time for you to make sense of the critique.
Read every bit of the critique before you put any serious thought into anything written in the critique. Everyone writes a critique differently. They may be disjointed, with some thoughts tying into commentary found at the end of the critique. Plow through the critique and make certain you have read all of the commentary first.
Next, go over the critique again and see what immediate points make sense. Take notes on the obvious corrections. Don't implement them now, but make certain you are aware of the changes you want to make.
The rest of the critique you will need to evaluate carefully. Does the critiquer bring up a good point, but you do not know how to deal with it? Does the critiquer mention something that makes absolutely no sense to you?
Does the critiquer comment on something that gets explained later? Sometimes pacing your novel to reveal important details can be difficult. Could this be an indicator you have failed at it?
Every critique is the *opinion* of the writer of the critique. You do not have to make use of the suggestions made in that critique. However, if you asked for a critique, it is your responsibility to at least take the time to properly read through the critique.
Yes, even if the person writing the critique seems to be a hater who wants to bring you down. Amidst their hate, they may have painful little truths that can do your book a world of good. Don't rashly discard a critique because you do not like what is written within it. This may be one of the biggest mistakes that you can make as a writer.
5: Give yourself some time
There are some errors, such as a grammar error, or a misspelling, that could use immediate repair. However, I would always put a week's worth of time between a critique and making changes if possible. This will give you adequate cool-down time and also permit you to clearly think of the best way to improve your story.
Granted, some people do not have the luxury of this time. Especially with looming deadlines.
What others have to say on Critiquing and Criticism
This would not be a very good resource blog if I did not include resources on critiquing and criticism.
Information on how to critique a novel: (I am not responsible for some of the horrendous colours found on these pages. My apologies, but the information was quite useful, even if I could live without the neon pink.)
Writing a Critique
How to Critique Fiction - Victoria Crayne
Vancouver Public Library - Novel Critique Section
Fiction Factor
And as a treat, a few quotes for your reading pleasure!
- A successful person is one who can lay a firm foundation with the bricks that others throw at him or her. - David Brinkley
- Criticism is prejudice made plausible. - H. L. Mencken
- It is not the critic who counts, not the man who points out how the strong man stumbled, or where the doer of deeds could have done better. The credit belongs to the man who is actually in the arena, whose face is marred by dust and sweat and blood, who strives valiantly, who errs and comes short again and again, who knows the great enthusiasms, the great devotions, and spends himself in a worthy cause, who at best knows achievement and who at the worst if he fails at least fails while daring greatly so that his place shall never be with those cold and timid souls who know neither victory nor defeat. - Theodore Roosevelt
- Criticism may not be agreeable, but it is necessary. It fulfils the same function as pain in the human body. It calls attention to an unhealthy state of things. - Winston Churchill
- Any fool can criticize, condemn, and complain but it takes character and self control to be understanding and forgiving. - Dale Carnegie
Tuesday, January 26, 2010
Statistics and Writing
Twitter is quite an amazing website, especially if you are interested in learning about the in depth details of certain industries. I peek at twitter a few times during the course of the day, which spawned an interesting conversation. Thanks go to Jane Smith and Carole Blake for bringing this subject up to my attention. If you have a Twitter account, I suggest that you follow both of these ladies. Carole is a writing agent, and Jane is a writer and editor who has a little blog that you can find here.
The article in question can be found here. I suggest you read it so that you are aware of what I am speaking of.
There are many, many opinions on the writing world, which in turn includes the discussion of publishing through a publishing house (see Tor, Penguin, DAW, Random House) or through a self-publishing agency (see Lulu). Both have their advantages, both have their disadvantages, and both have those supporters who believe one or the other will be the death of the publishing industry.
For the sake of argument, publishing houses are oranges and self-publishing agencies are apples. We all know that comparing apples and oranges can cause problems. Mixed together, they can make a delicious drink. In this case, they only cause problems. Perhaps the self-publishing agencies should be milk in this example. Then you could see how milk curdles when you add orange juice to it.
I have a few issues that i have with the article that I linked above for your reading pleasures. Above all, he compares apples to oranges and expects grape juice as a result.
What do I mean by this? Let me show you.
As Jane Smith mentioned on her twitter:
Para numbered 5: "The average book in America sells about 500 copies"
Paragraph numbered 8: "And the average new book generates only $100,000 to $200,000 in sales"
From that we can assume that the average book price in America is $200-$400. See the problem?
Apples and Oranges, ladies and gentleman. I preserved her tweets as they were in their form, only switched around so that they are easily read. (Twitter organizes by time published.. so it reads backwards according to regular logic.) This is directly from our discussion.
In the self-publishing world, it is true that the average book will sell somewhere between one hundred to five hundred copies.
In the publishing house world, a book is not viable for publication unless it can pay for the advertising and the editors that work on each book. As such, they need books to sell significantly higher in order to be viable. Because of this, the quality of writers for these publishing houses is also higher. After all, most self-publishing agencies do not require quality checks in order for a book to be printed with them. This is the beauty of print on demand. However, this lack of quality control is exactly why many of these books never make it onto a book shelf.
If you are a writer and wish to become published, just as I wish to become published, open your eyes, take that pinch of salt, and swallow it. While I try to expose the in depth world of writing to you even as I take that journey myself, you need to make certain that your sources are reliable.
Every advice, every grain of knowledge, you should approach as if it were a spider. Sure, some spiders are harmless, but others are quite poisonous. Some spiders even enjoy being pet! Others will put hairs in your eyeballs if you even think of trying it.
Even publishers have opinions. Just because an agent or a publisher states something is so, it is your responsibility to check your sources. If a publisher states something? Find out just what type of publisher that they are. Every genre is different. Harlequin, for example, functions far differently compared to Tor.
I might suggest you buy salt in bulk. It will save you a little money down the road.
Now, I will approach the meat of this, and go into what I feel are some of the misleading aspects that you should in turn research for yourself and make your own conclusions on.
Point 1: On Book Growth.
Truth: Self-Publishing has picked up phenomenally.
Misleading: Self-Publishing number focus does not indicate the health of the standard publishing industry. It just shows that people are willing to dip into their own pockets to see their book in print in any form.
Point 2: On Book Sales
This is misleading. First, he doesn't account for aspects like the recession. Inflation aside, that there was any increase at all % wise is phenomenal. That means people are still spending money despite that fact that many people have lost their jobs and have less money to spend in the first place. Second, he does not mention if the sales are by book or by retail value of the book. These numbers are rather meaningless in the long run. Nor does he account for whether or not these are publishing house or self-publishing sales. These are two totally different industries.
Point 3: Book Sales, by the book
Read this carefully. Then, I refer you to Jane's commentary above. She says it best.
Point 4: On Stocking.
Once again, I return to the differences between self-publishing and a publishing house. Of course many books will never make it on the shelf. Most people who purchase a self-publishing option acquire an ISBN. This allows them to be put on the shelves. This does not mean that the bookstore will be willing to carry a book from an unknown author without the backing of a legitimate publishing company. That would be like putting a blindfold on and driving 95 miles per hour down a busy highway. Someone is going to crash. The bookstore would be making a rather stupid error if they took every single self-published novel and stuffed them on the shelf. They want novels from the major publishers that have a good chance of being sold.
Point 5: How hard it is to sell books...
Of course it is hard to sell books. It is much harder to sell a book unless you have a name for yourself or you have a reliable company vouching for you. I don't know about you, but I choose TOR and DAW books over other publishing houses because that is the type of writing I enjoy reading. I am certain many other people have similar preferences.
... to be blunt, I have made it to the half way point and I am spluttering. There are many misleading details. Each one of these points could have their own blog post of notable length to the entire blog post in question just clarifying where these numbers come from.
Statistics, ladies and gentleman, are often assumptions that support your opinion. When someone mentions a statistic, I get nervous.
When someone mentions a statistic without specifying which of two very different industries it comes from... then I get disgusted.
Please be careful about what you believe. A nice presentation does not necessarily mean that something is true or completely accurate.
Personally, I will judge the publishing industry by one simple fact: There are books on the shelves that I have not read and wish to buy. So I continue to buy books.
Until the day comes where I cannot find an interesting novel or four to buy in a bookstore at any one given time, I do think the publishing industry is safe enough. Especially if you go with a reliable publishing house.
The article in question can be found here. I suggest you read it so that you are aware of what I am speaking of.
There are many, many opinions on the writing world, which in turn includes the discussion of publishing through a publishing house (see Tor, Penguin, DAW, Random House) or through a self-publishing agency (see Lulu). Both have their advantages, both have their disadvantages, and both have those supporters who believe one or the other will be the death of the publishing industry.
For the sake of argument, publishing houses are oranges and self-publishing agencies are apples. We all know that comparing apples and oranges can cause problems. Mixed together, they can make a delicious drink. In this case, they only cause problems. Perhaps the self-publishing agencies should be milk in this example. Then you could see how milk curdles when you add orange juice to it.
I have a few issues that i have with the article that I linked above for your reading pleasures. Above all, he compares apples to oranges and expects grape juice as a result.
What do I mean by this? Let me show you.
As Jane Smith mentioned on her twitter:
Para numbered 5: "The average book in America sells about 500 copies"
Paragraph numbered 8: "And the average new book generates only $100,000 to $200,000 in sales"
From that we can assume that the average book price in America is $200-$400. See the problem?
Apples and Oranges, ladies and gentleman. I preserved her tweets as they were in their form, only switched around so that they are easily read. (Twitter organizes by time published.. so it reads backwards according to regular logic.) This is directly from our discussion.
In the self-publishing world, it is true that the average book will sell somewhere between one hundred to five hundred copies.
In the publishing house world, a book is not viable for publication unless it can pay for the advertising and the editors that work on each book. As such, they need books to sell significantly higher in order to be viable. Because of this, the quality of writers for these publishing houses is also higher. After all, most self-publishing agencies do not require quality checks in order for a book to be printed with them. This is the beauty of print on demand. However, this lack of quality control is exactly why many of these books never make it onto a book shelf.
If you are a writer and wish to become published, just as I wish to become published, open your eyes, take that pinch of salt, and swallow it. While I try to expose the in depth world of writing to you even as I take that journey myself, you need to make certain that your sources are reliable.
Every advice, every grain of knowledge, you should approach as if it were a spider. Sure, some spiders are harmless, but others are quite poisonous. Some spiders even enjoy being pet! Others will put hairs in your eyeballs if you even think of trying it.
Even publishers have opinions. Just because an agent or a publisher states something is so, it is your responsibility to check your sources. If a publisher states something? Find out just what type of publisher that they are. Every genre is different. Harlequin, for example, functions far differently compared to Tor.
I might suggest you buy salt in bulk. It will save you a little money down the road.
Now, I will approach the meat of this, and go into what I feel are some of the misleading aspects that you should in turn research for yourself and make your own conclusions on.
Point 1: On Book Growth.
Truth: Self-Publishing has picked up phenomenally.
Misleading: Self-Publishing number focus does not indicate the health of the standard publishing industry. It just shows that people are willing to dip into their own pockets to see their book in print in any form.
Point 2: On Book Sales
This is misleading. First, he doesn't account for aspects like the recession. Inflation aside, that there was any increase at all % wise is phenomenal. That means people are still spending money despite that fact that many people have lost their jobs and have less money to spend in the first place. Second, he does not mention if the sales are by book or by retail value of the book. These numbers are rather meaningless in the long run. Nor does he account for whether or not these are publishing house or self-publishing sales. These are two totally different industries.
Point 3: Book Sales, by the book
Read this carefully. Then, I refer you to Jane's commentary above. She says it best.
Point 4: On Stocking.
Once again, I return to the differences between self-publishing and a publishing house. Of course many books will never make it on the shelf. Most people who purchase a self-publishing option acquire an ISBN. This allows them to be put on the shelves. This does not mean that the bookstore will be willing to carry a book from an unknown author without the backing of a legitimate publishing company. That would be like putting a blindfold on and driving 95 miles per hour down a busy highway. Someone is going to crash. The bookstore would be making a rather stupid error if they took every single self-published novel and stuffed them on the shelf. They want novels from the major publishers that have a good chance of being sold.
Point 5: How hard it is to sell books...
Of course it is hard to sell books. It is much harder to sell a book unless you have a name for yourself or you have a reliable company vouching for you. I don't know about you, but I choose TOR and DAW books over other publishing houses because that is the type of writing I enjoy reading. I am certain many other people have similar preferences.
... to be blunt, I have made it to the half way point and I am spluttering. There are many misleading details. Each one of these points could have their own blog post of notable length to the entire blog post in question just clarifying where these numbers come from.
Statistics, ladies and gentleman, are often assumptions that support your opinion. When someone mentions a statistic, I get nervous.
When someone mentions a statistic without specifying which of two very different industries it comes from... then I get disgusted.
Please be careful about what you believe. A nice presentation does not necessarily mean that something is true or completely accurate.
Personally, I will judge the publishing industry by one simple fact: There are books on the shelves that I have not read and wish to buy. So I continue to buy books.
Until the day comes where I cannot find an interesting novel or four to buy in a bookstore at any one given time, I do think the publishing industry is safe enough. Especially if you go with a reliable publishing house.
Wednesday, January 20, 2010
How to Procrastinate
Procrastination.
The beloved art of finding anything to do other than what you need to do.
Procrastination, my friends, is the death of a writer. It is very easy to stop writing because there is something else more interesting to do. Time keeps marching on, and writers who procrastinate are left in the dust. Let us face the truth: a writer who does not manage their time well will have a very difficult time succeeding at being a professional.
That said, I'm a procrastinator. I love the thrill of approaching a deadline and needing to chop to make it. It is an adrenaline rush that I should live without but somehow manage to always bump heads with.
However, I've become a bit of a trained procrastinator. Over the years, I have learned ways to procrastinate while still doing things that are useful. Sometimes, procrastination is the mask for resolving an internal writing block. Doing something else helps me break a block, and fairly quickly. In that aspect, a bit of procrastination is a useful thing.
Unfortunately, I am quickly learning that time is something that you have a lot of when you are young and a lot less of as you age.
I'm in that little special place in between. Now, I wish to remove my urges to procrastinate. This is a lot harder than it sounds. The human species is a creature of habit. Once you are into the habit of procrastination, it is very difficult to remove the habit of procrastination. This sounds terrible. Oh, believe me, it is.
Building good habits is like quitting smoking. It is easy to say, "I wish to quit smoking". It is not so easy to stop lighting up and quit.
I'm just glad I don't smoke. I don't think I could handle trying to deal with that many habits at one time!
This will be a reoccurring subject. As I try to get into the habit of using my time better, I will add little blurbs to my posts on writing to tell you all just how I am doing at it. I expect there will be a lot of failures in the near future, as I balance contract working, my epic series, and the other novels that I wish to write. Then, I want to add in some more writing related research...
... I am sure that you can see where I am going with this. I'm already procrastinating on getting done any one of these things by making this post.
Today, I need to do a lot of things. I am going to try to hop to it. Let us see if I manage to manage my time better today.
With that said, here are some sites relating to procrastination, why people do it, and what you can do to stop doing it. If you procrastinate like I do, maybe you will want to try taking this little journey with me.
I will say this much: there are thousands of references on procrastination. Below, you will find a handful if you really don't have anything better to do with your time! I suggest you look at the causes and cures section. I am.
What is procrastination?
Wikipedia's Entry on Procrastination
Psychology Today - 10 things to know about Procrastination
Carleton University's Procrastination Research
Cal Poly's Reference
What are the causes of procrastination?
UNC.edu's reference
Reference Site, Causes of Procrastination
Suite 101's entry
What can be done to stop the habit of procrastination?
Mind Tool's Beating Procrastination
John Place Online
Canada One
Montgomery College
What other writers have to say about procrastination!
John Perry
Paul Graham
And as a final tidbit, famous quotes on procrastination!
"Nothing is so fatiguing as the eternal hanging on of an uncompleted task. " - William James
"Procrastination is the art of keeping up with yesterday. " - Don Marquis
"Anyone can do any amount of work, provided it isn't the work he is supposed to be doing at that moment." - Robert Benchley
"The two rules of procrastination: 1) Do it today. 2) Tomorrow will be today tomorrow." - Unknown
"I do my work at the same time each day - the last minute. " - Unknown
"Never put off until tomorrow what you can do the day after tomorrow. " - Mark Twain
I was also asked, randomly, to add a short entry on what my fish Cortez thought on Peanut Butter. Cortez reports that he would surely like to try Peanut Butter, but his mother is an evil tyrant and will not permit him to try it for fear of what peanut butter might actually do to a fish. He thinks this is entirely unfair, and that he is a noble Betta Splendens, who is afraid of no fish, no food and not even death itself!
The beloved art of finding anything to do other than what you need to do.
Procrastination, my friends, is the death of a writer. It is very easy to stop writing because there is something else more interesting to do. Time keeps marching on, and writers who procrastinate are left in the dust. Let us face the truth: a writer who does not manage their time well will have a very difficult time succeeding at being a professional.
That said, I'm a procrastinator. I love the thrill of approaching a deadline and needing to chop to make it. It is an adrenaline rush that I should live without but somehow manage to always bump heads with.
However, I've become a bit of a trained procrastinator. Over the years, I have learned ways to procrastinate while still doing things that are useful. Sometimes, procrastination is the mask for resolving an internal writing block. Doing something else helps me break a block, and fairly quickly. In that aspect, a bit of procrastination is a useful thing.
Unfortunately, I am quickly learning that time is something that you have a lot of when you are young and a lot less of as you age.
I'm in that little special place in between. Now, I wish to remove my urges to procrastinate. This is a lot harder than it sounds. The human species is a creature of habit. Once you are into the habit of procrastination, it is very difficult to remove the habit of procrastination. This sounds terrible. Oh, believe me, it is.
Building good habits is like quitting smoking. It is easy to say, "I wish to quit smoking". It is not so easy to stop lighting up and quit.
I'm just glad I don't smoke. I don't think I could handle trying to deal with that many habits at one time!
This will be a reoccurring subject. As I try to get into the habit of using my time better, I will add little blurbs to my posts on writing to tell you all just how I am doing at it. I expect there will be a lot of failures in the near future, as I balance contract working, my epic series, and the other novels that I wish to write. Then, I want to add in some more writing related research...
... I am sure that you can see where I am going with this. I'm already procrastinating on getting done any one of these things by making this post.
Today, I need to do a lot of things. I am going to try to hop to it. Let us see if I manage to manage my time better today.
With that said, here are some sites relating to procrastination, why people do it, and what you can do to stop doing it. If you procrastinate like I do, maybe you will want to try taking this little journey with me.
I will say this much: there are thousands of references on procrastination. Below, you will find a handful if you really don't have anything better to do with your time! I suggest you look at the causes and cures section. I am.
What is procrastination?
Wikipedia's Entry on Procrastination
Psychology Today - 10 things to know about Procrastination
Carleton University's Procrastination Research
Cal Poly's Reference
What are the causes of procrastination?
UNC.edu's reference
Reference Site, Causes of Procrastination
Suite 101's entry
What can be done to stop the habit of procrastination?
Mind Tool's Beating Procrastination
John Place Online
Canada One
Montgomery College
What other writers have to say about procrastination!
John Perry
Paul Graham
And as a final tidbit, famous quotes on procrastination!
"Nothing is so fatiguing as the eternal hanging on of an uncompleted task. " - William James
"Procrastination is the art of keeping up with yesterday. " - Don Marquis
"Anyone can do any amount of work, provided it isn't the work he is supposed to be doing at that moment." - Robert Benchley
"The two rules of procrastination: 1) Do it today. 2) Tomorrow will be today tomorrow." - Unknown
"I do my work at the same time each day - the last minute. " - Unknown
"Never put off until tomorrow what you can do the day after tomorrow. " - Mark Twain
I was also asked, randomly, to add a short entry on what my fish Cortez thought on Peanut Butter. Cortez reports that he would surely like to try Peanut Butter, but his mother is an evil tyrant and will not permit him to try it for fear of what peanut butter might actually do to a fish. He thinks this is entirely unfair, and that he is a noble Betta Splendens, who is afraid of no fish, no food and not even death itself!
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