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Posts Tagged beginners
There will be changes
Always. Even if you’ve had beta readers. Even if you’re a seasoned pro. Of the 14 or 15 full manuscripts I’ve submitted, there was only one where the editors didn’t want to change anything, beyond tiny niggles. Only one.
There are two kinds of feedback. In traditional publishing, agents – and editors in the initial stages – will tend to give brief, sweeping notes about character arcs, pacing, credibility and relatability. Even though these won’t be as detailed as the work an editor will do, they might keep you busy for a couple of months.
Moreover, an editor who does a detailed critique may have a different vision from those who have looked at it before. (Should you edit to fit another person’s tastes? A million-dollar question, which I’ll come back to.)
Anyway, most of us swallow hard when the detailed report arrives. This is what I do.
Critique report survival tips
Expect a large document that tackles your book in close detail. Sometimes very large – I’ve written 50 pages for a novice author (but there I’m also taking a tutoring role, so my commentary includes discussion of craft).
1 – Read the report without doing anything. Satisfy your curiosity. Don’t make to-do lists or open the manuscript. Just read.
2 – Set it aside. Yell, scream etc. Wait as long as your deadlines allow. This also lets you digest. When you’re even-tempered about it, start work.
3 – Some suggestions will be easy to fix. Some will be harder. Some will be praise and encouragement, though you might not have recognised them. Read through and mark the easy stuff – either highlight on a printout, or colour in the Word document. Tackle these immediately if it makes sense, and feel satisfied that you’re getting this under control.
4 – Now you’re limbered up – and are familiar with your manuscript again – you’re ready for the trickier suggestions. Separate out the ones you don’t agree with.
Often editors make suggestions that skew the book in a way you don’t want. But they may have identified a significant problem. Disregard their solution and delve deeper for the source.
For instance, an editor who saw an early draft of Life Form Three told me it needed another viewpoint character and that one of my story devices was confusing. I didn’t want another viewpoint character, so I made the original one more relatable. The confusing story device was also important to me, so I reworked it. Result? He was happy because the problems were fixed.
Of course, if you have a traditional publisher, an editor might ask for changes to fit their list and readership. Use your judgement, but remember this: if you are named as the author (ie it’s not work for hire) a publisher can’t change anything without your agreement. Dig your heels in if there is something you really disagree with. In a worst-case scenario they might decline to publish, but this rarely happens. (They also can’t make you agree to a cover or title you don’t like, BTW.)
If you’re indie, you of course have complete freedom to decide what to change. But consider whether an unsuitable suggestion is pointing to a problem you should tackle in a different way.
What, another stage of feedback? I’m afraid so. Copy edits are done after main developmental feedback. But they can still throw up enough problems to make you gnaw the desk.
Copy editors notice the tiny details that slipped by when everyone had bigger problems in mind. They also catch the errors that crept in as you went over the manuscript again and again. The murder victim’s hair might have changed colour. The timeline is impossible.
It’s better to be pre-emptive about this. Keep tight control of these details as you edit – especially the timeline. Although you can probably correct physical details such as characters’ ages and hair colour with a few inventive text searches, you can’t fix the timeline so easily and the whole plot might unravel if it’s wrong. (I map out the timeline when I make my beat sheet.)
The beat sheet is one of the tools described in my book Nail Your Novel … more about it here
Thanks for the pic Brainedge
Do you have any tips for tackling critique reports? Did you ever disagree with an editor’s suggestions and what was the outcome? Let’s share in the comments!
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I’ve got a couple of slightly apparitional guest spots around the web today. I’m at Candace Austin’s Tumblr blog, Past Life Ponderings. Her novel is about past lives and she collects other authors who play with those ideas. She’s also keen to know about our own claims to former lives … come this way…
Still with the theme of shadows, I’m also at The Write Life Magazine. This time I’m talking about ghostwriting – how I started, what it takes to do the job and how you might break in. The Write Life is an online magazine, downloadable as an app or on PDF. There is a sign-up form but don’t be put off – it’s free and you also get essays about writers’ life-changing experiences, an interview with New York Times Bestseller Ingrid Ricks and a Q&A with memoirist Susan Shapiro. And it’s very pretty…
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I’ve just finished writing my first novel. I want to get published but I can’t pay for an editor. What can I do? Edith
Every week I get emails from writers who want help but can’t afford the cost of an editor. And I can see why. Good editors cost a big chunk of money and the job can’t be done cheaply. I don’t think seriously committed writers assume anything otherwise.
But sometimes, the writing world can seem like those schools where rich parents hothouse their kids by hiring personal tutors. If you don’t have the spare dollars, will you be left behind?
Not necessarily. Many of the writers I know never hired editors, yet we earned our spurs somehow. And you can still learn the way we did. It still works.
I probably sound like I’m doing myself out of a job here. Certainly a good editor will zoom in on your individual weaknesses (and strengths), and will improve all the novels you write, not just the one they assess. Also I’ll state that I’ve learned heaps from the agents and editors I’ve worked with. But the bulk of my learning came from elsewhere.
It wasn’t all free, but it was considerably cheaper than hiring an editor.
1 Find a good evening class
For two years I went to a novel-writing course at an adult education college. This was fantastic – an intensive two hours each week in which we’d critique a couple of works in progress, guided by a tutor who was also a literary agent. In case you’re in London, it was Morley College in Waterloo. Almost any well-populated area should have adult education facilities, and you can probably access them online too.
Intensive weekend courses are also useful (in the UK Arvon is well regarded), though the cost is getting on for the price of an editor, but there’s definitely something to be said for a regular dose of writing tuition every week to realign your awareness. Writing minds are trained gradually, so hothousing doesn’t necessarily give you an advantage.
Cost: Evening classes at Morley College about £130 per term
2 Find a critique group
Your evening class might fulfil this function, as mine did. But if it doesn’t, find a critique group or a clan of beta readers you can trust with your WIP. They may not be as expert as tutor-level critics, but can still be very valuable as they will react to your work as real readers.
Make sure you pick people who read your type of book (I hesitate to use the word ‘genre’ after last week’s discussion🙂 ) and who come together with the intent to help each other improve. You don’t want a mutual stroking society, you want people who’ll stop you making mistakes.
How expert do they have to be? Almost anybody can tell you the places where the book bored them, interested them, confused them, stretched their credibility or kept them up well past their bedtime. If they give you solutions as well, ignore them (diplomatically) unless they have reason to know what they’re doing. You find your solutions from your other experts.
A word of caution: although the participants don’t have to be expert, you need to make sure the group is moderated by someone with nous who can recognise when personality clashes or personal issues are interfering with the group’s criticism.
If you can’t find a group in the corporeal world, there’s nothing to stop you assembling a brief email list of trusted early readers.
Cost: Wine, cake and other standard bribes
3 Read craft books
For years I mainlined writing craft books. I gobbled up so many I can’t remember all the titles, and I gave loads away to friends, but the ones I still have are by Robert McKee, Jordan Rosenfeld, Stephen King, Dianne Doubtfire , James Wood, David Lodge, Bob Shaw, Syd Field and Blake Snyder.
And of course, I’m now adding to the writers’ reading burden with tomes of my own, distilled into practical tutorials based on the advice I regularly give when I critique. Hence the characters book.
Cost: the price of a book (or several)
4 Read like a writer
This is what I have always done. Each time I read something that impresses me, I stop and examine how it was done. This means I dither through books, often trapped by a sentence, a description or a wrenching twist. This extreme predisposition to wonder is what made me write in the first place and it’s what inspires and teaches me still.
Cost: what price can you put on pleasure?
The long and the short
It can’t be denied that an editor is a fast track to proficiency. But some of the necessary lessons can’t be learned in a hurry. We need time for unfamiliar concepts to become habit, to make the knowledge our own and to put it to full imaginative use. That isn’t bought with money. It’s earned with time and dedication.
Thanks for the money-burning pic Jurvetson Just for the record, the lady in the pic is not a financially challenged – or blessed – writer, but an entrepreneur making a point about energy wastage. But we’re both talking about money that may not need to be spent🙂
Where are you in your writing journey? How did you learn and how are you learning still? Is there anything you’d tell Edith?
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You know a project is going to be long, serious and brow-furrowing if the illustration is a scribbled-on notebook and coffee. My third piece for the Writers & Artists website is up today. The web editor saw Nail Your Novel and asked me to write a run-down of points to help first-time writers get started on a magnum opus.
Readers of Nail Your Novel will be familiar with it all – notes, plans, splurging first drafts, confidence-building (and coffee), but if you haven’t been here long you might find it useful. Follow your nose…
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Yes, I would usually have put up an original writing post this weekend, but I seem to have had a lot of posts on other blogs in the last few days. So rather than appearing in your inbox way too many times in one week, I thought I’d take a bit of a rest.
Today I’m back at Writers & Artists. They told me a lot of writers approach them for advice on self-publishing and self-publishing services, but it’s clear they’re not ready and would be better doing more work themselves. They asked me for a piece to help writers hone their novel before they pay for editorial services.
The number one problem I notice is that new writers try to publish a first draft – so this post is a newbie’s guide to revision and an insight into the secret graft behind a good novel. Many of you guys are more advanced than that, but if so, I hope you’ll know someone you can pass it on to. Even if it’s only your long-suffering family and friends, who are wondering why you haven’t ‘finished’ and published! Here it is…
Meanwhile, if you’d like to share how you revise a novel, or add your tips for getting it in perfect shape for publication, share them here!
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I’ll leave the story to that post, but briefly, I saw an interview on the Writers & Artists Yearbook website, responded to it, and seem to have woken them up to the fact that indie authors are rather more advanced than they hitherto thought.
Even better (and this isn’t in the post) Bloomsbury then asked me to call them. They’d had a rummage through my blogs and wanted me to write for their website and newsletter. (Wow. Big smiles at NYN HQ.)
So W&A – the bible for creatives in the UK – is expanding its coverage of self-publishing as a serious and respectable option. But I detected they’re a tad nervous about it. The editor I spoke to asked if I ‘minded’ writing about self-publishing. That suggests he’s encountering more negative attitudes than positive. No matter. They’re responding to what’s happening in the creative world.
I also have to relish a sense of a circle closing. Years ago, when I was a beginner querying agents and publishers, W&A was my route map for what seemed an audacious and mostly impossible dream. When I wrote the querying section of Nail Your Novel, I recommended using them. Now, thanks to a tweet that alerted me to their post, and a tweet I sent to them, I’ve flipped to the other side and they’re introducing me to their audience. In our online, endlessly connected world, new opportunities might be only a tweet away.
In other news, tomorrow I’m skyping into the Grub Street arts centre in Boston as a guest expert in a seminar on creative book marketing so you’ll get a proper post from me about our discussions. And next Saturday, I’m on a panel at Stoke Newington Literary Festival in north London, talking about multimedia self-publishing. Both those opportunities sprang from relationships made completely on social media. In fact, everything has. Before that, I was an invisible editor and a concealed ghost.
So tell me – what opportunities have come to you from social media? And what tips would you give to help people make the best of it? (Oh, and here’s the Independent Authors Alliance post, in case you’re curious about the W&A Incident… )
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It’s live! New Nail Your Novel book shows you how to create characters who keep readers hooked and make you want to tell stories
Three guesses what it’s about … but here’s the formal blurb…
How do you create characters who keep readers hooked? How do you write the opposite sex? Teenagers? Believable relationships? Historical characters? Enigmatic characters? Plausible antagonists and chilling villains? How do you understand a character whose life is totally unlike your own?
How do you write characters for dystopias? How do you make dialogue sing? When can you let the reader intuit what the characters are feeling and when should you spell it out?
I’ve mined 20 years’ worth of writing and critiquing experience to create this book. It contains all the pitfalls and sticky points for writers, laid out as a set of discussions that are easy to dip into. And it wouldn’t be a Nail Your Novel book without a good dose of games, exercises and questionnaires to help you populate a novel from scratch.
Whether you write a straightforward story-based genre or literary fiction, Bring Characters to Life will show you how to create people who enthrall readers – and make you want to tell stories.
If you like more heft in your hand, the 200+-page paperback is in progress, and will proceed as fast as an index can be built and proofs can fly the Atlantic.
Ebook price GBP £3.56 USD $5.50 (rough conversion estimate)
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I have such conversations all the time, but never in that place. I was freelancing on the magazine where once upon a time I was a full-time sub-editor. It was a day of facts, punctuation, page proofs, libel-watching, house style, hard news and deadlines.
Then one of the desk editors told me he’d started a novel and we jumped universes.
First he told me he’d had a story idea. An idle ‘what if’ moment; an entertaining daydream. Then, purely to keep track, it became necessary to write it down.
One day he discovered a book that seemed made for this situation (not Nail Your Novel; we need to have words about that). Before then, he hadn’t known that author manuals existed. He hadn’t done writing exercises since his journalism training, but now he found himself drawing up character sheets and developing back stories.
Ideas continued to ambush him, raining out of the sky like the pieces from random jigsaws. He saw an outlandish person on the train. Big hat, fur coat and tarantula-tight jeans: exactly what his character would wear. Once transplanted into the manuscript, the character disobeyed the story plan and did something else. It’s now a crime novel, which my colleague didn’t intend, but the characters made him do it.
He’s a journalist. He finds the facts, gets the quotes and rattles out the words. This novel, though, is not playing ball. Although it follows him like a mental entourage, it only speaks and moves when he’s not at the keyboard or can’t grab a pen. Strap-hanging on the train, interviewing an expert. Even in the shower. He declared this with some outrage, as though the characters had snuck in and swiped the curtain. Which is pretty much how he regards the whole surprising business.
Writing has been my habit for so long that I’d forgotten what it was like when it was new. Of course we never stop honing our craft but these days my zone of discovery has shifted to marketing, finding where I fit and what new platform I need to learn. Although these tools and possibilities are fresh and exciting, it’s nice to be reminded how I got here and what it all comes back to.
Tell me: how did you get here?
Thanks for the drawing, Freya Hartas, used with permission
NEWS If you’re at the London Book Fair on Wednesday this week, drop by the Kobo stand where I’ll be Writer In Residence! This is a rather astonishing development and I’m still pinching myself, but I’ll write a roundup post afterwards where I can indulge the ‘wow’ moment and hopefully say something useful too. Navigate your way to stand Y505 in the digital zone between 2.30 and 3pm on Wednesday 17th April (or instruct your nose to find coffee because it’s near the cafe).
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Gamebooks, for the unnerdly, are interactive adventures (sometimes called Choose Your Own). The story is printed in scene sections, out of order, which end with a choice – trust the blind beggar or not, decide whether to look for your enemy in the town or the desert. Although I’m not a gamebook fan (apologies to those who are), I’m finding the process rather interesting.
Choices and consequences
First of all, what happens in each thread depends on the character’s personality and previous moral choices. So if they’re captaining a pirate ship, in one version they’re jolly tars and in the other it’s mutiny.
Choices are crucial to good stories. Stuff happens – not because a god dumped events into the plot, but because characters did things, usually under pressure. In a gamebook these choices create a unique path through the adventure. But whatever kind of story you’re writing, the chain reaction of choice and consequence is an essential.
Experimenting with scenes
To proof Dave’s books, I’m not reading one thread at a time, but front cover to back – which is jumbling the story into random episodes. It also means I encounter each scene in many versions.
This was like an x-ray of my plotting and revision process. I make copies of each scene and write umpteen iterations looking for tighter tension, more resonant changes, more interesting (but honest) ways to keep the reader on their toes. In fact my outtakes are rather like my novel in gamebook form, with all its possibilities – what if she says this, what if the characters had met before in different circumstances, what if y had happened before x?
(In fact Dave said this experimenting was part of the fun – he could play each scene several ways instead of having to settle for a single one as he would in a novel. The pic shows his flowcharts. BTW, the print books are Lulu editions for proofing only. Yes, we know the covers are horrible.)
Exploring possibilities is something that writers are often scared by. Often they want to keep a scene the way they first imagined it. But the more we squeeze a scene to see what it can do, the stronger a novel will be.
Because the gamebook contains many journeys, there are also many ends – deaths that are daft or valiant, failures to complete the quest, heroic rescues, solutions where honour wasn’t fully satisfied. Usually only one ending hits the mark. (In gamebooks that’s traditionally the last paragraph, by the way.)
Finding the right ending in a novel usually takes a lot of false starts. But you don’t get there unless you try all the permutations of success or failure and the shades between.
Get the experimenting mindset
To get in the experimenting mood, grab a gamebook and read it in a way it’s not intended to be – from page 1 to the end. You’ll see the many ways an encounter can go, the options for a scene of dialogue, the possibilities for your ending. Once you’re loosened up, go back to your WIP and play.
(Here’s the titles that are currently available in the series I’m proofing for Dave, but gamebook fans can probably point you to other goodies.)
Thanks for the signpost pic Shahram Sharif
Do you feel able to experiment with your stories? If so, what helps you? Share in the comments!
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How to self-publish an ebook and get a traditional book deal – guest spot on The Write Lines podcast
When I was first discovering blogs – and looking for a home for my own fiction – I discovered The Write Lines on BBC Radio Oxford. Presenter and novelist Sue Cook brought together experts from UK publishing to give advice, information and resources for new writers.
Fast forward through a few revolutions and the latest series (now a podcast) is exploring indie publishing – both as a leg-up to a traditional deal and a viable option in itself. Some of the authors whose blogs I was reading as the first series aired are her experts this time – including Nicola Morgan and Catherine Ryan Howard – and me. I feel like I’ve graduated. Exciting times…
In my episode I’m sharing a studio with indie superstars Mark Edwards (one half of the Edwards/Louise Voss partnership) and Mel Sherratt. You can either listen on the site or download….
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