Adventures in Beta Reading

By: Shannon Lawrence

Successful authors have a multitude of tools to aid in their writing. One of those tools is the beta reader. Not to be confused with critique partners, beta readers read the entire manuscript at once, preferably after it's been significantly edited and is in the final stages. The feedback you get from them depends upon what you ask for, but should be more thorough than what you'll get from the typical critique group.

We all know that it can be tricky to find the right critique group, but it can also be hard to find a beta reader who can provide what you're looking for. There are various pitfalls that come along with asking someone to put in so much effort for you, and it's hard to deal with it on your end, because you have to keep in mind that this is a big favor. Unfortunately, this can tie your hands when it comes to dealing with someone not delivering.

Recently, I put out a call for beta readers on Facebook. I got six responses, four authors (two published, two not published) and two non-authors. I felt this was a good mix, so went ahead and contacted them with information. Ultimately, two people got it to me by the deadline, one got it to me slightly after the deadline, and one got it to me a couple months past the deadline. That leaves two who never got back to me at all, though one did apologize and explain what had happened. What I got back from people varied significantly, as well. From what I've heard, this was all to be expected.

To be expected, sure, but frustrating on my end. In order to help out those of you approaching a beta reading situation for the first time, I'm going to lay out the process from the beginning, in hopes that you can take what I learned and improve on it, possibly avoiding some unnecessary frustration and heartache.

1. Gather Data - Look at what others have done. Ask them what worked and what didn't work, and if they have any recommendations going forward. Figure out how you want to go about it in advance.

2. The Ask - Do you want to post on your social media for volunteers or contact specific people and request their help? I've done both, and I doubt either one works any better than the other, so it comes down to your preferences and your circle. If you don't have people you'd think would be good for this, consider asking in a writer's group or related entity or posting in their social media. You can ask friends to put out a call, as well. Decide in advance how many readers you want. Provide yourself a cushion by asking for more beta readers than you need. This way, if some don't deliver, you still get a good amount of feedback.

Having said that, remember that you don't have to accept everyone who offers. Choose people you believe will be honest and reliable. Don't ask family or your best friend unless you know they can and will be honest with you. Otherwise, you'll get back a "good job," which, while nice to hear, isn't helpful. Be clear on the genre of your story, providing them an elevator pitch of sorts about it, so they accept knowing what they're getting into. Try to have both writers and non-writers in order to get different sorts of feedback. Often, writers will pay more attention to the writing dynamics and logistics, while non-writers will pay closer attention to the story and characters.

3. Be Specific - Write up a set of questions that specifically address your concerns. Are you wondering if your character is too much of a wimp or whether the love interest will read as sexy? Perhaps you're concerned about the slow spots, pacing, tension, setting, descriptions, etc. Be honest and ask the questions you want answers to. Point out details you want them to focus on. Ask them to jot down reactions anywhere they feel strongly. Did they especially like this action scene? Was this scene too slow? Did they laugh here? Cry? State whether you want grammar notes or if you'd prefer they avoid them.

Just because you send questions and suggestions on where to focus does not mean your readers will address them. Three of my readers (including one who jumped in to help when the others failed to follow through on their promise) both answered my questions and put feedback throughout the manuscript. The others were a mix of either answering the questions, putting feedback throughout, or doing a write up with their notes. You can give suggestions and try to lead where you'd like it to go, but people will ultimately do what they're comfortable with.

4. Time Frame - Pick a deadline. It should be reasonable. One to two months is fine, depending upon your needs. It's a good idea to state your time frame up front so only those who feel they can get it done in that time volunteer. If it's vital you have it before a certain date, build in a buffer of a week or two to better your chances.

5. Niceties - Keep in mind that you're asking a lot of your beta readers. Consider what you might do in return. Be friendly. Write them a nice letter with your expectations and thanking them for their help. I offered to beta read in return should they need someone. For the non-authors, I asked them to let me know in the future if I could return the favor in some way. I also thanked them once I got the feedback. No matter what, they volunteered to do this in order to help me better my manuscript.

6. The Send - After getting their email address (since I'd put the call out on Facebook), I sent an email with the manuscript in .doc as an attachment, as well as the letter and questions in .doc, and expressed my willingness to send it in a different format upon request. I forgot to initially include the deadline, even though I had one in mind, so that came later. When I gave it, I asked them to let me know if they had issues with that time frame. I actually recommend you give the deadline with The Ask, then remind them of the deadline in The Send.

7. Follow Up - When the deadline arrived, I sent out an email to those who had not returned any feedback. I stated that the deadline had arrived, and asked them to let me know if they felt they could finish it and when I could expect it. I assured them that I would not be upset if they could not finish, and that their honesty would allow me to find someone else to read for me instead. Everyone remaining assured me they would still get it done. I now know this not to be true, so here's where you can learn from my mistake. If people do not finish, feel free to reach out to them, but also consider opening your call back up if you don't feel you got sufficient feedback from the others. I don't recommend continuing to bug them about it. If they haven't done it by the deadline, chances are they won't. If life is busy, it will continue to be busy. While your manuscript may be your life's focus right now, it won't be theirs. Find someone else.

A beta reader can be a huge help. Looking at your story in one big chunk, rather than the piecemeal way of critique groups, allows them to see the big picture and find story mistakes someone reading a chapter each month might not. It lets them look at the finer details, check character and story arc, etc. However, you're opening yourself up to a possible let down when someone doesn't deliver. Learn from my mistakes. Choose your beta readers carefully and, if they don't respond in time, pursue other beta readers instead of waiting on the ones you already secured. After all, beta readers are human, and they'll have all too human issues that might eclipse doing you a favor. Hopefully, the feedback you do get will more than makeup for what you don't get, and your beta readers will have provided this valuable service.

Have you had beta readers? How did it go? What did you learn from the experience? What tips might you offer a first timer?

A fan of all things fantastical and frightening, Shannon Lawrence writes primarily horror and fantasy. Her stories can be found in anthologies and magazines, including Once Upon a Scream, Dark Moon Digest, and The Deep Dark Woods. When she's not writing, she's hiking through the wilds of Colorado and photographing her magnificent surroundings, where, coincidentally, there's always a place to hide a body or birth a monster. Find her at www.thewarriormuse.com.

To Critique or Not to Critique

By: Jason P. Henry

It is a wonderful thing to write a novel. That moment you type the last sentence is an incredible, exhilarating feeling. You should be proud. Many want to write a book, but not all follow through. Far fewer see that dream to completion. If you have started a novel, I applaud you. If you have finished, give yourself a hand.

So what next?

Have you ever seen a diamond in the rough? It’s not an overly attractive thing, to be honest. It doesn’t stand out from many other varieties of crystals. To see a diamond uncut, it would take a lot to convince you to shell out the thousands of dollars you pay for a finished gem. It takes a lot of skill to get a rough specimen into the highly valued items you see in jewelry stores. Hours of cutting and polishing go into the process.

Consider your first, or rough draft just that, an unfinished diamond. It may be OK now, but the time you spend cutting and polishing is what really makes it shine. That is what makes it marketable and something readers want to buy. If somebody purchases a book, only to find it filled with misspelled words, plot holes, poor sentence structure, and other problems, they likely won’t purchase something with your name on it again. A nail in the coffin for potentially the best authors.

There are steps you can take to avoid this pitfall. Use spell check, read your work out loud and hear how it sounds. More importantly, let others have a look.

         

Let’s go back to the cave where we found that diamond. The person who discovered the rough-looking specimen is not likely to be the one who will polish or cut it. That person loves the adventure, the thrill of discovery. Much like an author enjoys writing a great story. The miner who finds the diamond extracts it, then sends it off to another who will cut and polish the gem to give it more shine. As a writer, you do the same with your novel or story. In fact, it’s essential.

Your first step in that process should be a critique partner and/or a group. When your first draft is complete, and you have used my advice listed above, find someone else to give it a read. You’ll be amazed at what he or she finds. You have looked at your story for hours upon hours. You know it inside out. But your brain sees what is supposed to be there instead of what actually is. A critique partner looks at things with a fresh set of eyes. He catches things that you have likely missed multiple times already. After you make the suggested corrections, you’ll be amazed at how much more your diamond shines.

         

So what makes a good critique partner?

A critique partner is not the person who tells you what a great writer you are and that your story is the next New York Times bestseller. If that is the type of feedback you want, give it to your mom and put on it on your refrigerator when she’s done. Yes, compliments are great, but too many unaccompanied by constructive feedback are counterproductive. So, before giving your work to someone for critique, have a conversation with potential candidates. It is OK if they are people you know. You still want to make sure they are right for you.

First, make sure they appreciate and understand the genre you’re writing. You would not critique a romance novel the way you would a horror novel.

Secondly, I recommend you choose a partner who is a writer. (Every relationship is about balance. Trade manuscripts and help each other out by swapping critiques.) A critique partner is not the same as a beta reader or paying an editor—that comes later.

Next, make sure your potential critique partner is someone you can work with, someone with whom you share a mutual respect. If you can’t accept criticism from him or her without getting upset, or vice versa, move on. (But consider this: If you can’t take constructive criticism, you might not be ready for a critique group.)

During critique you may find your critique partner makes a suggestion you disagree with. Remember, it is your story and it should never become anything else. You are free to ignore.

Setting Guidelines for Critique

After you’ve chosen your critique partner(s) you and your partner should set guidelines. Among these are location, frequency, time and the day of the week. These probably sound basic, but don’t underestimate the complications that can arise. You and your partners ideally have lives outside of writing.

Determine the times that are mutually available for all of you. My partner and I attempt to meet weekly. It works at the rate both of us write and can finish a critique. We also understand that there are weeks we have to skip. You and your partners will eventually settle into a rhythm and understanding. This comes with time, so be patient.

I consider location to be one of the most important aspects of a critique group. I prefer a neutral environment. Perhaps one member wants to meet at her house. Maybe she has kids, or maybe she simply loves to play hostess.

Personally, I don’t like putting that constant strain on one member. Always feeling the need every week, to clean, prepare snacks, drinks, etc. I find it distracts from the whole purpose of the group. Remember, this is your dream, and it is not an easy one to pursue. It deserves proper, dedicated attention. This is where a neutral venue comes in handy, or at least a constant rotation of private homes if that becomes necessary.

Wherever you decide to meet, the environment should be conducive to productivity. It should be quiet and comfortable enough to focus. It should have amenities, e.g. restrooms, beverages and food. It should have favorable hours of operation. Your group may move a few times before finding a venue that works. That is OK because atmosphere is essential to progress.

Now the tough advice—What if the relationship isn’t working?

Even after all the above has been addressed, and you have spent time with a group, you may find it doesn’t work for you. Know that it is OK to step away. These folks may be your friends, family or coworkers, but your goal is to improve your writing. If that is not happening, you’re in the wrong place.

Likewise, if, a member isn’t carrying his weight, it may be necessary to ask him to leave. A critique is about progress. Yes, there may be hurt feelings, but you have to move beyond that. This is your career, not a social club, although that can be a side benefit.

Once you are with the right group, you will be amazed at how much your writing improves. More importantly, how much you grow as a person. Critique boosts your confidence level because you’ve allowed others to see your work. You now have momentum and may be less hesitant to submit to contests, agents, editors, and/or publishers. Your skin also thickens as your learn how to take criticism.

To critique or not to critique should not be a question. The answer is absolutely. Writing can be a lonely venture. But even many of the best writers don’t go it alone. Get started, collaborate with others. Share your journey, and grow as an author. Watch that rough-looking specimen become a diamond.

About the Author: When he's not working with the dedicated and passionate people of Pikes Peak Writers, Jason P. Henry is lost in a world of serial killers, psychopaths, and other unsavory folks. Ask him what he is thinking, but only at your own risk. More often than not he is plotting a murder, considering the next victim, or twisting seemingly innocent things into dark and demented ideas. A Suspense, Thriller and Horror writer with a dark, twisted sense of humor, Jason strives to make people squirm, cringe, and laugh. He loves to offer a smile, but is quick to leave you wondering what lies behind it. Jason P. Henry is best summed up by the great philosopher Eminem “I'm friends with the monsters beside of my bed, get along with the voices inside of my head.” Learn more about Jason at www.jasonphenry.com. 

Introducing Buzz Words & character filtering

Editor’s Note: In addition to managing editor of Writing from the Peak, I volunteer for open critique liaison as Pikes Peak Writers the first Wednesday of every month. As such I’m always interested in guest “critiquers.” One such guest was J.T. Evans. I’ve been a member of a critique groups for many years, but his critique was so novel and beneficial and his buzz words foreign to me that I asked him to do a series of articles explaining them. Character filtering is the first. Next month he’ll address word territory. I hope you'll find them as useful as I do.

By J.T. Evans

Lots of phrases, buzz words, slang, jargon, and perfectly cromulent words are thrown about critique groups on a regular basis. Newcomers to critique groups can mentally stumble when they hear something along the lines of, "The POV in your WIP head hops through white room syndrome, and all of the narrative is written in passive voice with lots of tense shifts."

POV? WIP? White rooms? Is there padding on the walls of these white rooms? I feel like I'm going insane! I know I'm tense, but how is that shifting around? Well, have no fear. I'm here to help expand your vocabulary into the writerly world of the critique group.  

This month, I'm going to cover character filtering.

Character filtering is a style of writing where some, most, or all actions in a scene are forced through a character's perception instead of letting the actions stand on their own. In most writing, we know who the point of view character is, so telling us that character saw an action is superfluous. It puts a layer between the activities going on in the scene and the reader.

Here are some examples:

•    George watched as Melissa ran in front of the car.

•    Harry saw the ball bounce down the road.

•    Laurin watched Gerra see the arrows fly through the sky toward the two women.

All of these contain a character (presumably the point of view character) observing something going on. In the third example, we're double filtering (yes, I've seen this before), which is even worse than normal. In this case, two wrongs don't make a right.

Here's how I would fix the above examples:

•    Melissa ran in front of the car.

•    The ball bounced down the road.

•    Arrows flew through the sky toward the two women.

See how succinct and to the point the sentences become? If you need to cut words, character filtering is a great place to start. If you've received feedback about complex sentences or sentences that are too long, cutting out filtering is a good thing. 

What if a character is helpless and only able to watch what is going on around them? This might be a legitimate use of character filtering, but I suggest there are better ways of exploring being tied up, paralyzed, concussed so badly that coherent thought can't happen, and so on. I can see character filtering being used to drive home the point that a character is unable to act. However, repeating the pattern in close proximity might annoy your readers (and agents and editors).

I’ve had people suggest there are better ways to explore nonvisual senses, e.g. hearing, touch, and smell by way of character filtering. In these cases, make sense the primary actor in the sentence. Example: Instead of “Andrea heard the crunch of boots on the gravel behind her," delete heard and try writing it as: “Boots crunched on the gravel behind Andrea.” Yes, this puts your protagonist at the end of the sentence, but also puts the emphasis on the boots (and someone) behind her. This is a good chance to avoid filtering and increase tension at the same time.

Lastly, I’ve heard the argument that character filtering allows us to write our characters as reactive to something in the moment. Something like, “Zach winced as he watched the baseball bat thud into Charlie’s knee,” works well enough. I recommend a slight edit: “The baseball bat arced toward Charlie’s knee. Zach couldn’t handle the violence and closed his eyes hard against the thud of the bat into flesh.” Okay. Maybe the “fixed” part is a little overwritten, but here’s your chance to show something about Zach’s character as well. We still get the same effect. Poor Charlie’s knee will never be the same.

If you've heard a phrase or word in a critique group and you think others should know about it (or you're not sure what to think of it), drop me a comment below, and I'll add it to my list of Buzz Words to talk about.

About the Author:  J.T. Evans writes fantasy novels. He also dabbles with science fiction and horror short stories. He is the president of Pikes Peak Writers. When not writing, he secures computers at the Day Job, homebrews great beers, spends time with his family, and plays way too many card/board/role-playing games.

Your Critique Group: Is it Contributing to Your Growth as a Writer?

By Donnell Ann Bell

Think back to your very first manuscript. Now fast forward to the manuscripts that you've completed since then. Are you the same writer you were when you reached THE END of book number one?

My guess is probably not. If you are, there might be a problem. If you're still working on number one, ask yourself why. And if you're submitting, getting no response or little feedback on your rejection letters, maybe it's time to take a look at that also.

Above all, if you haven't had any luck and can't understand why you’re not advancing in your career--and you haven't done so already--you might want to join a critique group.

If you're a new writer, my number one advice is to join one with more experienced writers than you are at the present time. While that might sound intimidating, that is the only way (unless you're that rare storytelling natural) that you are going to grow as a writer. You can read every book on the shelf, but until you apply craft and writing technique to your own work, e.g. develop your voice, you won't improve as a writer.

I can't tell you how much I've learned from my first book to my now eighth completed project -- not to mention all the partials stuffed deep in my drawers -- thanks to my critique partners. Comments I received in book number one were -- you've gone into omniscient POV and just blew up your POV character; you have too many POVs; you're in the incorrect POV; you're head-hopping; too many words; weak action verbs; and your research is showing.

And those are just the comments I can remember. If you listen to experienced critique partners, something will happen from one project to the next. Those new writer comments will go away. You're going to find in the next book, they'll move on to more complex writing issues. GMC (goal, motivation and conflict). Why would your hero do that? This action seems out of character? Your protagonist doesn't seem three-dimensional to me. What's his back story? Up your pacing here, this chapter is dragging. Need a transition here.

These comments may seem tough to hear, and often they're downright painful. But they are invaluable to a professional writer. It may feel fantastic to get a critique that says, "Oh, my gosh, I love your writing, I wouldn't change a thing!" Nice ego boost, but that comment isn't going to get you published. Some good advice I received--don't fall in love with your words.

Another helpful tip I've learned when you're in a critique group is to listen -- don't argue. It does you no good to try to explain what you meant. Take it all in, sit back and let a partner's words sink in from one meeting to the next. It's your story, and it's up to you whether or not to change it.

Another thing to consider when you're a member of a critique group is: Are they helping? A critique group isn't a marriage. You've joined to help you improve. It's okay to say this isn't working and move on to one that will help you. If a critique group is destructive or seems intensely negative, run do not walk away from this energy. This will only make you doubt yourself further -- and let's face it, there's no one more full of self- doubt than a writer.

Not sure how to find a critique group? Join your local writers' organization or ask about them on line. If your organization has Open Critique, go and go often. This may be the best way to establish a new group or to get an objective viewpoint.

These are my opinions regarding critique groups. Like anything in this biz, it's subjective. How about you? What do you value in a critique? What's the best -- or worst -- advice you've ever received? Are you still with your original critique group, or have you moved on? Or have you quit altogether and prefer to write alone?

I'd love to hear your stories and what you've taken away from them. I'm a member of an in-town and an on-line critique group and find their comments invaluable. I feel critique groups make me a better writer.

Donnell Ann Bell is the new editor for Writing from the Peak and the coordinator for the monthly Open Critique held on the first Wednesday of every month. You can find her at www.donnellannbell.com

Besides Fear, What's Holding You Back?

By Karen Albright Lin

There are many reasons we get stuck. We lack confidence, develop a fear of failure or, ironically, fear of success. What other obstacles stand in your way? 

huffingtonpost.com

Lack of writing skills: It’s a rare author who has raw talent and the sponge mind to read others’ work and instinctively “get it,” subsequently pounding out a first book that hits the publishing jackpot. If one hasn’t attended classes, critique groups, workshops or retreats, or hired a personal writing coach, it may be time to seek education just as someone needs to learn coding before becoming a software engineer.

Ambiguous motivations: If publishing is on your bucket list, why? Are you writing a memoir to get revenge on your high school nemesis? You want to lecture but not entertain? Are you expecting fame and fortune, showing off? Are you seeking catharsis instead of allowing that to come naturally in the process? These may be valid. Or they may be restraining you. Dig down deep, identify what’s really motivating you, and it may help you move forward or decide to start a different project.

Unrealistic expectations: There are many myths about being an author. Mention that you are a writer and people venerate. What an easy job! They expect you to have success with Stephen King money and fame starting from book one. Instead we are crushed by negative experiences. Our critique groups don’t pile on the praise; we don’t meet our minimum words per day; we find that life and writing patterns take sharp turns into brick walls. Setbacks are part of the process, so reopen that file but this time with a pragmatic mindset.

Impatience: One reason to have realistic expectations is to allow for the long writing apprenticeship. “Overnight successes” are rarely that. Ask authors about the three books or film scripts in their drawer. This is not a career meant for someone who can’t stand in a line at the movie theater. Your goals may be unrealistically grand. You may need to take smaller bites. It helps to celebrate every time you meet a benchmark.

Lack of writing sanctuary: How can you leave your insecurities at the door if you don’t have one? You create one. You may live in a small apartment without an office but you can reserve a little corner in the bedroom or living area exclusively for writing. If hubby is watching Monday night football, use earplugs. If you write better out in public, find that coffee shop or restaurant that welcomes loiterers. Buy something, nurse it over your laptop. The white noise might allow you to be a part of the world but without the burden of having demands placed on you.

Loneliness: Often writing in a coffee shop isn’t enough to conquer that feeling of isolation. Most professions involve interacting with coworkers. We writers also need social stimulation to refill the writing well and to be satisfied in general. Most places have writers’ communities you can reach out to: regional writing organizations, critique groups, conferences, retreats. You can pair up with a beta reader, collaborate, or create a support and accountability group. Report progress regularly. If you can’t or don’t want to schmooze in person, try one of the on-line communities. General and genre-specific critique groups and forums abound. Families don’t typically understand the happy dance you do after having your essay published in a magazine that pays you two copies. Being part of a writing community allows you to celebrate with a crowd that understands.

Writing by committee: Though it is good for your writing to get feedback from beta readers and critique groups, be careful not to allow your voice to be combed out of the book. Let your readers know what you are looking for. Be as specific as possible: believable dialogue? consistent characterization? skillful transitions? If you were happy with your plot and characters before seeking input be careful not to take your pile of written feedback and start amending without putting every comment through your own filter. Every idea may sound fun. Not every thought will be appropriate, especially not a salad of impressions. Listen, make note of opinions, then think each over before applying it. A decision to let an idea go is not repudiation; it’s allowing your book to tell you whether it needs a particular change.

Magical thinking: Some wait for their muse to come along and drag them to the keyboard. Multi-published authors will tell you that the best way to call the muse is by getting your butt into that seat and your fingers moving. Get going on that “shitty first draft” as Anne Lamott calls it. Momentum is your muse. Just like luck, wonderful words come your way through hard work.

Take inventory. If you are stymied by any of the above obstacles, tap into your strengths and determination. Confront them head-on, triumph over them, so they won’t have the power to hinder the progress on your writing project.

About the Writer: Karen is an editor, ghostwriter, pitch coach, speaker and award-winning author of novels, cookbooks, and screenplays. She’s written over a dozen solo and collaborative scripts (with Janet Fogg, Christian Lyons and director Erich Toll); each has garnered international, national and regional recognition: Moondance Film Festival, BlueCat, All She Wrote, Lighthouse Writers, Boulder Asian Film Festival, SouthWest Writers Contest, and PPW Contest. Find out more at www.karenalbrightlin.com

The Scientific Classifications of a Critiquer: Third and Final Part

By Aaron Michael Ritchey

Thanks you, Pikes Peak Writers, for letting me dominate my little corner of the PPW blog to go into exquisite detail about the nine classifications of critiquer, who is the idiot reading your work and offering a bunch of bad advice. Okay, that came out bitter.

Yes, I classified the various types of critiquers, who are the helpful eyes striving to make your book better. While I’m being critiqued, I have to keep a few things in mind:

· My perception might be skewed when someone is skewering my work. I might think someone is a Harry Hater, when in truth, they are just being honest and I’m taking it the wrong way.

· Even in the vilest critique full of hate and abusive language, look for the gems. Getting a critique is like someone coming to you and telling you they spread diamonds in a field of horse manure. You have to go through the crap to get to the jewels.

· If I get a critique and it’s mostly about word choice and sentence structure, I should walk away walking tall. Generally, people attack the writing when the big stuff works. And I used to get so devastated when people corrected my comma use. True story. Now I listen for those blissful words, “I only have little stuff.” Thank goodness. I’ll take a Grammar Nazi over a Harry Hater any day of the week.

· Listen for the issues everyone agrees on. If everyone thinks your sentences are bloated, thin it out, brother. If everyone gets bored with a chapter, cut it, my sister. I generally go with the common opinion. If opinions are split, I go with my gut.

· Beware of too many people in a critique group. If I get more than five or six critiques, I go cross-eyed trying to figure them all out. Actually, depending on the species of critiquers, three or four is plenty for me.

· In the end, I edit using the committee in my head, and I have to trust that committee. Don’t let anyone destroy the deep voice of genius inside you. A lot of times, I try to make a change suggested by the Genius Wunderkind in my group, and I end up changing it back. Because the committee rejected the change. Don’t blame me, blame the voices in my head.

Now, I know you’re all dying to know what kind of critiquer I am. The truth?

Well, I can tell you the ones I’m definitely not. I’m not a Harry Hater and I’m not a Genius Wunderkind. Not at all.

I might be a bit of a Fashionista, but I only know enough to be dangerous. So ignore me when I start talking bad about prologues.

In my heart of hearts, I’m a Plain Jane Reader. I love books and stories, and a lot of times, I don’t have much to say. But then again, I’m also an Idea Genie, and I’m not just any kind of Idea Genie. I’m the very worst kind. I offer suggestions on major plot points, major character attributes, and the big stuff. I can overlook all the little Nazi grammar stuff, and then say, “You know, you really need an explosion in chapter eight because more stuff has to happen.”

But I don’t stop there. I then write volumes!

“Or maybe not an explosion. Maybe aliens. Yeah, aliens, with shark guns attack in chapter eight, and Cynthia has this fear of sharks, so you’ll have to work that in, but then she’ll have to overcome her fear of sharks in Act III to save the day, but then a shark eats her and kills her and it’s all so tragic.”

And the poor guy I’m critiquing sits there, blinking. Shark guns? What?

I can get a little excitable. Sometimes I’m on the nose with my suggestions, and other times I am way out in left field.

In the end, after all the critiquers have gone back to their lairs to sharpen their claws (still bitter), I have to listen to the suggestions that strike home, that I can’t ignore, that plague me. If I can ignore a critique or a critiquer, I will. But if I can’t, that’s the good stuff.

Best of all are the critiques that make me excited to edit. Thank God, for the most part, I’m in a critique groups that lights the fire of my imagination and sends me home to spin my awkward words into gold.

Getting feedback is hard, but I believe it’s necessary, whether it comes from a critique group, a writing partner, beta readers, or your editor.

Listen for the magic, and then go back in there and cast your spell!

After all, we’re all sorcerers, and sorcerers need training, so we can turn our frogs into princes.

   

   About the Author: Aaron Michael Ritchey is the author of The Never Prayer and Long Live the Suicide King, both finalists in various contests. His latest novel, Elizabeth’s Midnight, will hit the streets May 7, 2015. In shorter fiction, his G.I. Joe inspired novella was an Amazon bestseller in Kindle Worlds and his steampunk story, “The Dirges of Percival Lewand” was part of The Best of Penny Dread Tales anthology published through Kevin J. Anderson’s WordFire Press. His upcoming young adult sci-fi/western epic series will also be published through WordFire Press. He lives in Colorado with his wife and two ancient goddesses of chaos posing as his daughters.

The Scientific Classifications of a Critiquer - Part I

thewildwriters.com

By Aaron Michael Ritchey

So I’ve been doing critique groups for nine years. Over the years, I’ve noticed there are several kinds of critiquers out there, and being the good student of Western Civilization that I am, I thought I would classify them. Yes, critiquer, as in critique group partner.

I feel so Darwin and scientific.

This will be the first part in a multi-part series. Thank you, Pikes Peak Writers, for indulging me.

I) GRAMMARIUS NAZITICUS
Yes, the grammar nazi. You and your commas will pay dearly for your impertinence. Now, keep in mind, this is not Captain Re-Write (see below); this critiquer respects your verbs and clauses, if your papers are in order. If they aren’t, we have ways of making you write better.

i. THE DANGER: I don’t bring perfectly polished pieces to critique group because there is a good chance I will have to re-write everything anyway and my poor antecedent-subject thingy will be like tears lost in rain. Stupid me, I take things so personally. I can get depressed about my lack of grammarnicity.

ii. THE POSITIVE: Grammar Nazis generally love to teach! Learn better grammar. Learn to wield a semi-colon like Excalibur! Yes, Justin Timberlake brought sexy back, and I will bring the semi-colon back.

II) CAPTAIN RE-WRITE
If you write “Dick listened for Jane’s footsteps in the morgue,” Captain Re-Write will save you by writing it as “Dick cocked an ear, hoping for some sign of Jane’s footsteps in the morgue.” Yes, your perfectly good sentence isn’t good enough. You obviously need help and Captain Re-Write has come to save the day.

i. THE DANGER: I had Captain Re-Write in a critique group and she would ink up every single sentence. This made going through her critiques time-consuming and depressing. And it made me question if I could write at all.

ii. THE POSITIVE: A Captain Re-Write makes me question every sentence, which is not a bad thing. And at times, I like the new version of the sentence better and that makes the story better. So take Captain Re-Write with a grain of salt, but look for the pepper. That caped crusader just might save the day.

III) HARRY HATER
This critiquer is not there to help. They are there to hate. They will hate your story, your characters, your voice, the semi-colon in the fourth paragraph. They probably won’t offer any ideas to make it better, just a lot of “This didn’t work for me” or “Maybe you should tell the story from the point of view of the dog because your characters are so flat.” Sometimes Harry Haters might change their colors. Sometimes, they love other people, but not you. Other times, they love you, but not your book. And sometimes, they aren’t haters at all. But we’ll discuss that in another post.

i. THE DANGER: Obviously, the Harry Hater will make you want to burn your book and slash open your stomach with a katana.

ii. THE POSITIVE: I love Harry Hater and do you know why? Because Harry Hater is the real world, and no matter what you do, some people will hate your books. They will hate you. They will plot your death in the wee hours of the night. They will review your books on Amazon and leave one star reviews because they hate you, hate you, hate you. Cuz in the words of that immortal bard, Taylor Swift, haters gotta hate. Might as well get hit with hate right away and learn to use it to thicken your skin. And like Captain Re-Write, every once in a while, Harry Hater will have a great idea you can use. Again, listen to everyone. If you can ignore Harry Hater’s critique, do it. If you can’t, there might be a grain of truth in there somewhere.

IV) YOUR BIGGEST FAN
Their job is simple: They love everything you write and will spread rose petals across the room when you enter. They applaud your use of the semi-colon in the fourth full paragraph. They love your characters. They are the evil anti-Harry Hater. Love them because they love you. I truly hope you have a fan in your critique group. I’m not sure I could live without one.

i. THE DANGER: The last thing I need in the world is for someone to agree with everything I write. If I had a critique group full of fans, I wouldn’t get what I need, which is an honest appraisal of what works and what doesn’t from multiple points of view. In the end, praise is cheap and doesn’t really help me. It’s like soda. It tastes good, it might give me a pleasant jolt, but I can’t live off it. Yes, even Dr. Pepper wouldn’t keep me alive for long and it has prune juice in it.

ii. THE POSITIVE: Duh. They love what you write! And if Harry Hater is the real world, so is Your Biggest Fan. You will always find people who love your writing because this is a subjective business, and most readers WANT to love you.


Stay tuned for Part II. Next month we will codify The Idea Genie, The Plain Jane Reader, The Fashionista, the Choreographer, and the Genius Wunderkin. 

Aaron Michael Ritchey is the author of Long Live the Suicide King, a finalist in the Reader’s Favorite contest. Kirkus Reviews calls the story “a compelling tale of teenage depression handled with humor and sensitivity.” His debut novel, The Never Prayer, was also a finalist in the Colorado Gold contest. His forthcoming works include a new young adult novel from Staccato Publishing and a six book YA sci-fi/western series from Kevin J. Anderson’s WordFire Press. In shorter fiction, his G.I. Joe inspired novella was an Amazon bestseller in Kindle Worlds and his story, “The Dirges of Percival Lewand” was nominated for a Hugo. He lives in Colorado with his wife and two goddesses posing as his daughters.

For more about him, his books, and how to overcome artistic angst, visit www.aaronmritchey.com. He’s on Facebook as Aaron Michael Ritchey and he tweets - @aaronmritchey.

Why a Critique Group? Because the Good is the Enemy of the Best!

By Aaron Michael Ritchey

So a couple of months ago, I blogged about how to handle a harsh critique and my critique group read it. Uh oh. I had some ‘splainin’ to do, to quote Desi Arnez as Ricky Ricardo. Some day no one will watch I Love Lucy. It will be gone, like tears in rain.

I  didn’t want to bash my critique group in that other post; I love those guys, and so I knew I needed to write a blog post about the benefits of a critique group - my critique group. They really are a supremely talented bunch, and I feel very grateful they took me in.

Now, let’s be clear, some writers do VERY well without a critique group. They write their books, give them to their editors, and the world loves them. I’ve talked to many Indie pubbed writers making large amounts of cash and they do this (in easy to read steps, for our listening audiences.) I love me a good numbered list.

1)      Write a book

2)      Go through the book and get a working draft, generally a once-over

3)      Give it to a couple of beta-readers, whom they trust

4)      Edit based on beta-readers’ comments

5)      Give it to their editor

6)      Edit based on the editor’s comments

7)      Copyedit

8)      Publish

It’s fast and it seems to work.

I’m gonna' try it at some point, but I still like my critique group. Here is why (and this time, I’ll do bullet points instead of numbers ‘cause that’s how I roll. And this is more list-y and less step-py.):

·         My rough drafts are unintelligible. My second drafts are worse.

·          I like the slow progression of a critique group, because submitting ten pages a week gives me time to pound my unreadable drafts into a semi-readable state.

·         I like the weekly discussions of the book and what arises out of the discussions. Simple comments on a page, like from a beta-reader, isn’t as powerful as the stew of ideas that can be slopped together on a random Tuesday night.

·         It gives me a weekly deadline that I can’t miss. I submit every time, or at least try. It gives my writing life some structure.

·         Writing is a lonely thing, and so the social aspect of a critique group is beneficial. Not only do I get comments on my writing, I also get news of the world, what other people are doing, and general shop-talk.

·         It’s great practice and every time someone doesn’t like what I brought, my skin gets a little tougher. I’m naturally suicidally sensitive, so I need to work on getting thicker skin.

·         My work is better because of the critique group experience.

On that last bullet point, ‘cause I’m out of bullets, I’ll go all freestyle. The subtitle of this little blog post is “the good is the enemy of the best”. Here’s why.

I brought a short story to my critique group. It was a good story, not great, but good. I knew something wasn’t quite right, so I read it over with a friend, and I tried to make it better, but I failed. Then I brought it to the brilliant minds that fill my Tuesday nights. My critique group took something good, and they made it great. The comments and suggestions were fabulous! Most of them. Others I ignored, ‘cause that’s the game.

Ignore what can be ignored, follow through with what can’t be ignored. 

Comments from a critique group is like someone telling you that several million dollars worth of diamonds have been sprinkled across a field of horse manure. You have to search through the manure to find the diamonds. 

Lucky for me, in my critique group it’s mostly diamonds, and not a lot of horse manure. Still, I just know there’s a pony around here, somewhere, and who doesn’t dig a pony?
 

About the Writer: YA Paranormal author Aaron Michael Ritchey has penned a dozen manuscripts in his 20 years as a writer. When he isn’t slapping around his muse, Aaron cycles to look fabulous, works in medical technologies, and keeps his family in silks and furs. His first novel, The Never Prayer, is available now from Crescent Moon Press. Most recently, his work appears in the steampunk anthology The Penny Dread Tales Volume III and in the May 31, 2013 issue of Electric Spec. His next novel is under contract, due out spring of 2014. It's a happy, little suicide book for young adults.

Working on My Puzzle, er, Manuscript

"Easy-to-read is hard to write."  — Pam Zollman

By Stacy S. Jensen
 

As a kid, I worked on jigsaw puzzles. Today, I'm back at work. No pieces this time — a jumble of words.

 

My quest to add submissions into my writing process has resulted in feedback and rewrites.

The revisions click on some days. I hear angels sing.

On other days, I feel like all the puzzle pieces are black. I have no idea where to begin. I hear my toddler say, "Now, that's a problem."

Before critique groups, I rewrote my manuscripts completely. It's an easier technique with a 500 or less word picture book manuscript. Third person point-of-view changed to first person. My main character morphed from a boy to a girl. Secondary characters vanished.

Now with an assortment of critique groups — in person, online, and a local Society of Children’s Book Writers & Illustrators (SCBWI) critique group — I add a new layer to the process. I pick a version to submit and absorb the feedback.

I've decided to allow myself to be irritated by some suggestions.

"They can't kill my darlings! That's my job!" Oops said that out loud.

Of course, I've found that acknowledging how the feedback annoys me actually helps me. I think about it (well, steam about it sometimes). I question the validity. I rewrite the scene with the suggestion.

I've found that it works sometimes and sometimes it doesn't.

At the end of the day, it's my story. For me to pitch it, to be passionate about it, and to continue revision after revision, it has to stay my story.

After attending the Big Sur in the Rockies last spring, I am bolder about how I utilize critique time. I may ask for specific attention to an area of the story or a format issue like an illustration note.

Even though critiques fire me up to revise, I often will wait a week before opening up the story again. I do research like check out books brought up during the critiques as possible comparable titles. Then, I return to the critique notes. I make changes. I ignore suggestions. I write new scenes. I replace words. 

The perfect word is important in any genre, but in a short picture book it can be difficult to find.

Then, I decide whether the story is ready to return to the outside world. Oh, and whether I need to rewrite the query letter or not.

As I go through revisions, I do focus on whether I really love the story or not. At one conference, an agent mentioned she must love a story, because it takes two to three years for it to reach bookstore shelves. The same can be said about a story I write. You must love a story to keep revising it over and over again until it's right.

What's your favorite way to revise a story, scene, or novel?
 

About the Author: Stacy S.Jensen worked as a newspaper reporter and editor for two decades. Today, she writes picture books and revises a memoir manuscript. She lives in Colorado Springs with her husband and toddler.