Critique Partners and the Art of Revising

This month I’ve been revising my NaNo project. For those of you that don’t know, #NaNoWriMo is National Novel Writing Month. It's in the month of November and carries the lofty goal of 50,000 words. I didn’t “win” but I did get close.  

I know they say close only counts in horseshoes and hand grenades. But what do “they” know, anyway? Let's see *them* write forty-eight thousand words in a month. <scoffs>

Slapping 50K words in a month means every single word will have to be revised. Revision is key. If I tried to fire off my NaNo Draft (which is probably even lower caliber than a First Draft) to agents or editors I could expect silence. If I sent it to my Critique Partner, I might expect a scathing reply along the lines of; “Did you send me a (swear word) First Draft?!”

I always try to remember that a first draft is just that—a first attempt. 

While writing is rewriting, it can't be done alone. A good critique partner is worth their weight in gold.  I interviewed Lane Buckman, the Lane of Robyn Lane Books, to talk about writing and critiquing.

1. How long have you been writing with a purpose?

I have been writing with a purpose since elementary school.  I got an early start with a specialized program to develop young writers through Old Dominion University, in Norfolk, Virginia.  I took my first write-for-pay job doing campaign scripting when I was fourteen, and have been working freelance since then.  I do a lot of technical writing for hire, a lot of op-ed, and dabble in marketing materials.  Now, as far as writing novels goes, I got serious about that in the early 2000s.  I sold my first novel in 2010, then followed up in different genres in 2013, 2014, and 2015.  Now, I focus on my work as a publisher, so I spend most of my time offering editorial notes to the fantastic writers we have found.

2. What’s the best thing a critique partner can tell you?

The best thing a critique partner can tell me is, "This doesn't work."  If they can back that up with why it doesn't work, that's a lot more helpful, but if something isn't reading well, I need to know--no matter how painful.  The most painful feedback I've ever gotten was, "Oh, Lane.  Just...no.  No."

3. What’s the worst thing a critique partner can tell you?

The worst thing a critique partner can tell me is, "This is perfect!"  Because it never is. 

4. What’s one piece of advice you’d like to offer new writers/new critiquers?

Don't ask your friends to read you to critique is my advice to new writers.  Your friends love you, and they won't tell you the problems with your work.  Find a reader you respect, and ask them to read as though they were going to review it to recommend to their most esteemed colleague.

My advice to those new to critique is pretty simple.   My critique motto is:  Imagine it's your work.  I offer the feedback in a way I would want to receive it.  That is, honestly and respectfully.  I don't pull punches, but I am kind.  Writing is hard work, and whether I'm reading James Joyce, or E.L. James, I keep that in mind, and I offer my feedback with respect to the effort, and the human being who did the writing.  We're all in the same boat, hoping for the same success, and we can all afford to be kind in how we deliver our messages.

5.  How many critique groups have you been in? What will keep you engaged? And what will have you running for the door?

I am active in three groups.  Each group was carefully cultivated (either by me, or another group member) to include published authors, copy editors, and people who love to read within the particular genre.  My favorites are the people who love the genre because they will tell you right off the bat if you are missing the mark.  Feedback keeps me engaged.  I run for the door when someone asks me to add in some erotica because I can't write that without laughing.

6. What can a critique group/partner offer that a writer can’t accomplish on her/his own?

  

Critique groups and partners offer honest, objective opinions in a safe environment.  I can't speak for anyone else, but my greatest fear in publishing is that my manuscript is the one the editorial team cracks up over because it is so bad.  I would rather run my work through thirty flesh-stripping critiques, than have one publisher laugh at me.  A friend recently posted that she'd just joined a critique group, and was thoroughly embarrassed by the feedback she'd received, but she was so glad she hadn't sent the book out to a publisher, or agent that way.  Critique groups help you hone your work, and help make you better.  I really can't say enough about how important it is to have someone else read your work.

KM Weiland has a great list of questions for Critique Partners  

Used with permission from Debbie Ridpath Ohi at Inkygirl.com

What do you like to ask for in CPs?

Top Five Reasons Attending A National Writer's Conference is Worth it

With the annual RWA conference taking place this week, my mind has been on conferences. Last year, the RWA conference took place in San Antonio, where I was living, and after a great deal of struggle and soul searching, I registered and attended. I was unsure whether the high cost of attending would be worth it, and I was so glad I did in the end. This year, I am unable to afford to go, but I am a firm believer that if you can manage it, a big national writing conference is absolutely worth you while, and here are the top five reasons why. (The importance of these reasons shift rankings depending on where you are in your writing career, but all five were important to me and are likely to stay important as my writing career progresses.)

Number Five: You'll meet your people.

If you're a writer, you've experienced that moment where you tell someone you're a writer and they either
(a) back away slowly, mumbling something under their breath,
(b) tell you about how they would write a book if they had time,
(c) say that's nice, but what do you really do?

As writers, there's an immediate connection when you meet other writers. People who get it. They've fought sagging plots, writers block, the incredible vulnerability that comes from letting people read (and OMG, CRITICIZE) your writing. They know what it's like when a story won't leave you alone, and what its like when your characters abandon you mid-story.
They get it and that's worth so much.

Number Four: The Network

This touches on what number five is about, but it's more about meeting face to face, the people who you've known and connected with online. Writers tend to be scattered about, especially for writers living in non metropolitan areas. Conferences are a great place to meet the people you feel like you've known forever in real life.

Critique partners, agents or editors you've had dealings with, the folks from your online writers group are often at the big conferences, and they are there in part to meet you in person, and to network with you.

Number Three: The inspiration

This isn't just coming from me. I've experieinced this, but I've also heard it from so many writer friends.

There's a synergy that comes from getting hundreds of highly creative people together who are interested in writing and are talking about writing. Things happen. Plots start to bubble in your brain. You find yourself writing baby plot lines out on bar napkins. And some of those bubbles actually work.

Attending a well run, large conference can refresh your creative well, and give you new ideas to draw from. It can help you view old ideas in new ways. Conferences can be incredibly inspiring.

Number Two: the classes

The caliber of classes at a large national conference are amazing, as is the range of topics covered.

There's something for everyone.  Attending the classes I got to attend last year raised the level of my writing. I learned tools to help me learn to write better.

I learned tools to help me keep track of plotting, and character arcs. There's an incredible wealth of writing wisdom and  information out there, and a national writing conference is one of the very best ways to access that wisdom.

Number One:  Its the best place for first time authors to find an agent.

Don't take my word for it. Take Scott Hoffman's. The founding partner of Folio Literary Management had this to say about it:

"Particularly for first-time authors, there’s no better way to get to an agent than at a conference. Authors love one-on-one meetings with agents, but we know where the best writers can be found: at the bar. You think Hemingway would have given an elevator pitch at a 7:30 A.M. meet-the-agents session?"

So there you go. Five great reasons why a national conference is worth the time (and huge expense) of attending.

Dealing with Critiques and Reviews

I really enjoyed Niki’s and Janet’s last blog posts. To me, critiques and reviews seem to be two sides of the same coin. As writers, we're part of the entertainment industry. Reviews may be professional book reviews, fan reviews, or word-of-mouth. And as Janet said, lots of reviews garner attention and bring more readers.

But critiques prior to publication are what make us better. 

Therefore, as Niki so eloquently told us, a critique partner, should be held in very high regard. 

I love my blog partners. They are critique partners, beta readers and hand holders. I find myself chatting with them on Facebook in the evening while my daughter watches her favorite TV shows. Writing this post, I had an epiphany. We watched two reality TV shows back to back. And guess what? I have two perfect examples fro you on how to deal with critiques and reviews.

Shark Tank is a reality TV show where aspiring entrepreneurs pitch the "sharks" (investors).

Click here to watch

This is a perfect example of what NOT to do. But critique partners, agents, and editors don't get the luxury of opinionated writers going on national television. So take a moment to review Niki's Ten Critique Partner Commandments. Don't argue with recommendations--the sharks talking about the two women pitching? Just think, they could be your editors.

Cut Throat Kitchen was on next. In this show the Chefs are given a cooking challenge, in this case they had to make a French Dip sandwich. The other contestants are offered an opportunity to sabotage each other. The chef you'll see get booted off the show had to make his sandwich on a tandem bike.

Click here to watch

These chefs don’t make excuses with the challenges they faced. They simply say, “Thank you, Chef.”  The chef who judged was also polite. He couldn't bite through the sandwich, but his review? 

"You cut the meat wrong."

My ultimate goal is to get my manuscript published and sell lots of books. Critiques and reviews are just part of the process. I'm sure at some point, I'll get a negative review. Everyone reads differently. But when that happens I'm going to look for this blog and try to remember, "thank you chef."