The Importance of A Writing Confidant

Sometimes, we can't see past our failures, but those who've been walking alongside us during this journey witness something so much brighter. And sometimes, we need to open our hearts and receive a perspective adjustment by those who love us. 

 Here is my most recent correspondence with a very dear writing-journey companion: 

*** 

 Dear Crit Partner aka Sister aka Bestie aka Trusted Friend... 

 I am so bummed out. I got honorable mention in that contest. Basically, I hardly placed at all. Why do I put so much hope in these writing endeavors? And on top of that my book's not even finished! Maybe I shouldn't even go to ACFW this year. :( 

 Bummed Out, 

 Writer

 *** 

Dear Writer, 

 I feel like you are looking for validation in the wrong places. I know it's so stinkin' discouraging when you think you're getting good news and then it doesn't turn out... Believe me! And that's totally understandable. BUT, you can't let that overshadow everything else or affect your big picture perspective. 
 You've got to fight back. 
 Your stories and your heart are worth fighting back for! Don't let yourself believe it's okay to adopt a victim mentality, because it will only send you in a downward spiral. You've been so excited about this book and this story!! Hold on to that! 

 Some of these things are attacks by the enemy. But some of them are attacks you are making against yourself! Don't let yourself believe for a second God is not moving through your writing, your writing community, and your life. 

If someone else said these kinds of questions about your writing, I would be like, "Shut up! This writer and her writing are amazing!" So since YOU are the one saying it about your own writing, I'm still going to stand up for you ;) 
 Love, 

 Your Crit Partner (aka wisdom-speaker)

***

Do you have a truth-speaker in your life? Do you have someone who knows you and your writing and believes in it (and you) no matter what?

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Angie Dicken first began writing fiction as a creative outlet during the monotonous, mothering days of diapers and temper tantrums. She is passionate to impress God's love on women regardless of their background or belief. This desire serves as a catalyst for Angie's fiction, which weaves salvation and grace themes across historical cultures and social boundaries. Angie is an ACFW member, One Sheet designer, and is represented by Tamela Hancock Murray of the Steve Laube Agency. Check out her personal blog here: www.angiedicken.blogspot.com

‘Tis the season for rejections…

About this time of year… with conference several weeks behind us, the press of the holidays approaching, we often find ourselves in a season that, for a lot of us, might not be so fun. Rejection season.

You labored over every word, dotted every i, crossed every t until your eyes took the same position. And then you held your breath, crossed your fingers, and launched your dream on one giant prayer as you pressed SEND.

Well, send isn’t exactly the end of the line, now is it? Sometimes it feels that way when the silence is so deafening you’d crave a rejection if it meant you’d hear something… anything from the great black void of editors and agents who supposedly have your precious pages.

But then, if your lucky (or some might say otherwise) the waiting ends, and the results come in, and… Splat! Someone press the life-assist button because my mutilated heart is now flat-lining on the floor with my crushed dreams.

Oh, we all like to pretend we’ve developed that tough skin, impenetrable by cutting words, but deep down, if your dream is as big as you claim it is, ooo, those words sure do sting!

Now, feedback, if you get it, can be extremely useful. And not just for unseasoned writers. This is why writers enter contests… sure, we’d like to win, but very often the critique you get from the judges is worth the price of that degrading score.

Sometimes it’s not.

Since you’ll never win over everyone—let’s face it, even NYT Bestsellers get bad reviews--how do you know what feedback to take to heart, and what to let roll off?

I wish the answer was simple. Subjectivity is the name of the game. But for me, I think it’s important to establish what your strengths and weaknesses are as a writer. Work with a crit partner, compile those comments from judges, agents, and editors, and give yourself a baseline. You might be a unique word-smith, describing things in such a way that stirs your reader’s senses. You might have a strong command of language and grammar, keeping a tight and organized flow that provides a seamless read. Or perhaps you struggle with the technicalities but you can pen an unstoppable plot that carries the reader away in spite of the less than fancy words.

Then take an honest look at the criticisms, but don’t let them tear you apart. Remember, these are OPINIONS. All stories can be improved with wise direction, but don’t forget that it’s your story, and YOU alone get to tell it. But at the same time, don’t be so hardheaded that you refute any negative feedback. It’s as important to determine your strengths to build confidence, as it is to acknowledge where you have room to grow.

So, since I’m feeling a little bit jolly and hope to keep my spirits up for the holidays, here are my recommendations for weathering REJECTION season:

--Read your rejection letter, perhaps a couple times, and then put it away until tomorrow.

Our emotions get the best of us in the heat of the moment. Our hopes are riding high, that email drops in our inbox, you’re thinking “This could be it!” and instead of a glowing report, they knock you down a few pegs. Take a breather, sometimes what seems so harsh at first glance can be seen with a more critical eye once the smoke clears. 

--Make notes on what feedback is positive and what is negative.

Use columns if you have to. Then compare the criticism to what you already know about your abilities as a writer. Was this one agent or editor’s opinion consistent with your general consensus of strengths and weaknesses, or might they be someone who just isn’t the right fit for you? You can’t please everyone, so before you go hacking at those hard fought words, determine what will reinforce and strengthen the story you were given and what simply doesn’t mesh with your style and purpose.

--Get a kick-a crit partner who will shoot it to you straight.

This is a biggie, so be choosy if you can! So much of our time is spent silently in our heads or on paper. This is why I read my stories aloud to myself so I can gain some perspective as to how my thoughts translate into real world dialogue and understanding. But at the same time, you will not be able to see what others see. Before you subject yourself to those big glaring “PASS’s” from that dream publisher, get some more eyes on your work. Listen with a critical ear. Weight those suggestions with as little emotion as possible. And don’t just look for someone who will read through and tell you they loved it. They had to have had a thought to the contrary since they weren’t the one who wrote the book.

My crit partner can attest to the fact that if I’m gonna take the time to critique, I’m gonna give ALL of my insights straight up. Now, that doesn’t just mean tearing the book to shreds or being cruel… though I have been known to wield a deadly weapon… it also means explaining what you liked. What made you laugh, cry, what sucked you in or made you fall in love with a character. Strengths and weaknesses here. We all have them both. ** Critical information for weathering those rejections. ** 

--Believe in yourself despite the downpour.

Remember all those stories about the bestseller that collected a stack of rejections before making it big? Don’t let the negative voices drown out what you have to say. You’re story is important. It was given to you for a reason. Don’t get so singularly focused on publication that you lose sight of the joy of creating story. What a beautiful gift… whether it’s meant to be shared with the world or not is sort of out of our hands. Do what you can, write the best story possible, be open to improvement, but don’t let the rejection define you.  

Chin up! God’s got a plan!

What about you… What have you confirmed are your strengths and weaknesses? And how do you stay afloat when those rejections come back and rock your boat? 

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Amy Leigh Simpson writes Romantic Suspense that is heavy on the romance, unapologetically honest, laced with sass and humor, and full of the unfathomable Grace of God. She is the completely sleep deprived mama to two little tow-headed mischief makers and wife to her very own swoon-worthy hero. Represented by the oh-so-wise and dashing Chip MacGregor of MacGregor Literary Inc.

The Role of a Critique Partner

Many of you already know fellow Alley Cat Angie Dicken is my critique partner. What you may not know is how much I value Angie’s friendship as well as her investment in my stories. When you look at our friendship, it just goes to show the way God knows exactly what we need, even before we do.

Angie and I “met” online through ACFW Scribes, then in person at the ACFW conference. We kept gravitating toward each other’s stories in the larger Scribes group and decided to break off on our own. It’s been so cool to have someone to share this writing journey with—the highs and the lows—and to help me learn how to write to my strengths.

Some of you may be in the position where you want feedback on your writing, but are not sure how to go about finding a critique partner relationship. Others of you might be in a larger critique group but may be wondering if it’s functioning the way it should. Today I want to talk about some ways to find a critique partner, some things to look for in that relationship, and some “rules” of critiquing. 

• Where to Find a Critique Partner
• A well-established writing organization like ACFW. As I already mentioned, Angie and I found each other through ACFW. We both joined ACFW’s larger critique group, Scribes, and then found we were continually drawn toward each other’s writing styles. We seemed to “click” from the beginning.
•  In-person writing groups. Many towns have writing groups that meet at places like local libraries, universities, or coffee shops. The advantage of this kind of setup is that you get face-to-face interaction. However, it also has limitations because you’re going to get less diversity in the group, so if you’re looking for a highly specialized group (like other people who write Regency zombie stories), you’re probably going to want to look online.
• A critique group. Joining a critique group can be a great way to get several different perspectives on your work and see who you best “mesh” with. You may find you end up working more in-depth with one person in particular, and decide to form a critique partner relationship.

•  What to Look For
• Someone who understands your writing voice. It’s completely fine if your critique partner writes in a different genre than you. Look at Colleen Coble and Kristin Billerbeck. What matters more than actual content is that someone appreciates your voice and will be able to give you suggestions about how to bring it out more.
• Someone in generally the same stage of the writing journey. You don’t have to be completely equally matched, but if you’re a significantly more advanced writer than your critique partner, you’re going to end up in more a mentor relationship than a critique partnership.
• Someone you “click” with. Angie and I have become such close friends through our critique relationship. You may not end up as close as we are, but chances are, if you are going to spend a lot of time investing in someone else’s stories, you are inevitably going to have heart-level discussions. For that reason, it’s imperative that you connect with someone who you get along well with. Otherwise, the critique relationship isn’t likely to last long.
• Rules of Critiquing
• The first rule of critiquing is that you and your critique partner make the rules. You have to find a system what works for you, and tht just takes trial and error.
• Be clear about expectations with each other from the outset. Are you looking for someone who’s going to read one chapter per week? Five chapters? Maybe your whole book in various draft stages? Angie and I have been fortunate that we always seem to be on the same timetable, but that’s not the case in all critique relationships. Be sure you’re clear about your expectations so you can avoid possible frustration that might result.
• Always point out the good. I am a teacher, and I am used to seeing bad papers. But you know what? There is always some good I can find in my students and in their work. This should be your attitude with your critique partner as well. One of my favorite things about Angie’s critiques is whenever she writes little happy faces next to my jokes, because I know she gets them and thinks they are funny. It may seem obvious to you that your critique partner has a particular strength, but they may not be aware of it, and may even avoid repeating that strategy in the future if they don’t get validation. So always point out what is working well.
• Be clear about areas needing improvement, and always try to offer suggestions. The more comfortable you get with each other, the clearer you get about these kinds of things. Sometimes Angie and I just write things like, “This isn’t working. I don’t like this.” But we didn’t start off that blunt. Ease your way in to harsher critiques because they’re always easier to take if they aren’t about your own writing. J Also, always try to offer a suggestion when you give a bigger, plot-level critique. Instead of just saying, “This isn’t believable,” say something like, “This isn’t believable to me. What if you gave her a deeper motivation by making her dream career in New York City?”
•  Accept critiques graciously. Ultimately, the only thing limiting your ability to learn is your own willingness to. We can only grow, in life and as writers, if we are open to critique. Sometimes it may conflict with our plans for a story, but the only way to get a fresh perspective is to first hear that perspective graciously. You don’t have to accept everything your critique partner suggests. But you should consider it all. AND that is part of the reason why it pays off to take time to find the right critique partner, because you’ll trust the feedback they give you.

Ultimately, a critique partner relationship is a long-term commitment. It’s not a three-month thing. So take your time finding someone who  really compliments your strengths and weaknesses, and vice versa, so you can really develop a lasting partnership.

Do you have a critique partner? If not, is there a reason why? If so, how did you two meet and what have you learned from that relationship? 

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Ashley Clark writes romance with southern grace. She's dreamed of being a writer ever since the thumbprint-cookie-days of library story hour. Ashley has an M.A. in English and enjoys teaching literature courses at her local university. She's an active member of ACFW and runs their newcomer's loop. When she's not writing, Ashley's usually busy rescuing stray animals and finding charming new towns. You can find Ashley on her personal blog, Facebook, Pinterest, and Twitter. She is represented by Karen Solem.

Inside or Outside the Box?

Photo by jscreationzs
freedigitalphotos.net

We have all heard the phrase: think outside of the box. To jump start creativity, or to achieve our goals, we should think big. Dream big. Imagine big. And that is true, but then again, it is not quite the whole truth.

I'm reading Greater, by Steven Furtick, and it is fabulous! In one of his chapters, Furtick talks about the whole thinking outside the box idea. It's what got me thinking about writing and dreaming big outside the box.

The thing about thinking outside the box is that when you have dreamed big and brainstormed great solutions, you are still in the box with the same problems you had before. You remain frustrated that you can't really attain those outside-the-box-solutions.

• If only you had a critique partner, you could really shape up your writing.
• If only you could go to a writing conference, you could learn all you need to know about writing.
• If only you could get an agent, you could get your book sold to your favorite publishing house.

If only...

Friends, you can still dream. You can still think outside the box, but you must realize that God can't bless you with his greater blessing outside the box until you trust him while you are inside the box with the tools that you already have. How are you being faithful with what you have in front of you?

• For $45 a year (that's less than 2 pennies a day), you could join ACFW and have access to dozens of critiquers.
• Go to the library and check out books on writing. Peruse writing blogs for articles on writing. There is a wealth of material out there to teach you what you need to know!
• Start submitting to agents after you have done what you can to make your story the best it can be.

When you are faithful with little, you will be granted more. (Matthew 25:23) God will provide you a critique partner when you are ready for one. He will supply the money for a conference when you are ready to go. And He will give you an agent when the time is right. 

How are you needing to trust God in your writing life? In your personal life? 

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This post is brought to you by

 Sherrinda Ketchersid

Sherrinda is wife to "Pastor John" and mother to three giant sons and one gorgeous daughter. A born and bred Texan, she writes historical romance filled with fun, faith, and forever love.

Excuses, Excuses! What's Stopping You From That Rewrite?

 I pushed forward, consuming my first draft in edit mode. I rekindled my love for my story, characters, and setting. A few tweaks here, a few deletes there. All the while, there was a tug in the back of my mind, trying to slow me down. It was coming, and coming fast. The sleeping monster's snore was getting louder, reminding me of what lay ahead.

It can't be that bad, I kept telling myself.

After all, I didn't have any major problems, just adding a few scenes for punch. Surely my memory failed me. I didn't really have a tangled mess in chapter twenty four. I probably just needed to erase and replace, brush away that old plot thread, and weave in the one I intended.

No problem. Piece of cake.

Eh. Not so much.

That sleeping monster: the not-so-great chapter....opened its lazy eyes, and began to stretch its arms, shoving away all my attempts to avoid picking him up and plopping him in the trash. It would be a struggle, wouldn't it? Too much time to try and fill in the giant gap his absence would leave. Perhaps I can just dress him up, so he “looks” good. Maybe, just maybe, he's not so bad after all.

And the little girl inside of me fell to the floor kicking and screaming:

"Please, please, please don't make me start over!"

Today, from my own experience, I want to suggest three excuses that may try and distract you from that task at hand, that inevitable step to truly polishing your manuscript before submission...even if it means that horrible word: REWRITE.

Excuse #1: Tweak what you have to fit your new plot line. So, in my case, I needed to readjust the plot. During that first draft, I had gone down a rabbit hole, and while it might have been an intriguing story line, it really was for a whole different book altogether. But, I really liked my set up, my language, the whole “feel” of the scene. There is a major problem though, when you try and fit a new scene into an old one...your characters throw a fit.

Consider your arc: would your character really do that, say that, or find themselves in that place on this new journey you've invented?

You can't just peel away the top layer and slap a new layer on it. You've got to consider the whole onion (as one particularly green monster would say. Any guesses?).

Excuse #2: Ignore your gut, it is good enough. But is it? You've written a whole manuscript. Certainly that tucks some more-refined skills in your writer's pocket? Each page you write, gives you the chance to get better. Why else do you edit, anyway? So, when you get to that scene you may have written a couple months ago, don't settle for last month's “good” when this month's good might have reached a whole new level.

Consider your own growth as a writer: Is this scene truly reflecting your best creativity, your strongest representation of the story in your head? Or does it have a hand-me-down feel, a poorly sewn patchwork of character motives?

Excuse #3: After excuse #1 and excuse #2 wasted away my time, I heaved that ugly monster and tossed him in the trash. But then came something that has not visited me for a long time: 

Writer's block.

Yeah, my plot was off, and what I thought would help was a good ol' fashion tweaking. That obviously didn't work. So now what? How can I make this worth reading to, reading thru, and hooking the reader for what's to come?

I found three things that sparked my creativity, choose one or more: 
 Crit partner brainstorming session: This is my favorite. My crit partner knows my story and my characters almost as good as me. And she also knows me. When I ask for her advice on a new plot thread, or keeping an old one, she can see through my laziness in not wanting the change, or she comes up with questions that dig deeper than the plot that's blinding me from what my characters want and need. It's always nice to have a second pair of eyes no matter what part of the process you are in, but when writing block hits, crit partners can be huge in breaking down that wall!

Research: No matter if you write historical or suspense, sci-fi or women's fiction, research doesn't just happen before you write. Sometimes you need to tap into research to spur on what's going to happen next. Since I write historical, I can look at events of that time, and decide how would my character react to them? Or perhaps there are other people's stories you come across that spur an idea? Would this be good to include in your plot to push your story forward? Even if it's a tid bit of research, if it gets you into your character's head and on to paper (or screen) then you can write yourself out of writer's block.

Take a break and read: Let your writer's mind rest. Step away from the story and jump into someone else's world for a while. Sometimes we focus so much on our own story's jagged edges, that we can't remove ourself from the snag to see the bigger picture. And sometimes, your creative juice bank needs to be filled up...which usually always happens when you dive into someone else's art for a while!

Do any of these stop you from moving forward in your rewrites? What other excuses have you told yourself to keep from writing the best for your story?
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Angie Dicken first began writing fiction as a creative outlet during the monotonous days of diapers and temper tantrums. She is passionate to impress God's love on women regardless of their background or belief. This desire serves as a catalyst for Angie's fiction, which weaves salvation and grace themes across cultures. She is an ACFW member and CEO of a family of six.

 

The Quest for Quality Feedback

Getting feedback on our writing is easy these days.


From the barage of writing contests out there to the numerous online critique groups to one-on-one relationships you've formed, the "HOW" to get feedback, on at least a portion of your writing, is a pretty easy question to answer. And most of these methods are fairly inexpensive and have a decently quick turn around.

At some point in the journey though, we need to get beyond the "get as many opinions as possible" way of thinking and take a ride on the "Quality vs Quantity" train.

I'm not discounting the easy methods. I used them myself in my journey to publication. They are needed and helpful.

But there needs to be a transition.

Reminds me of labor. (men... and women who haven't given birth... I apologize for this analogy.)

You're going along... contractions 5 minutes apart... you're breathing fairly easily... it's hurting but you can deal with it. But in order to get that baby out, you have to go through transition. It's the moment that the squeeze around your belly goes from not just hurting pretty bad to "Blank-ity-blank-blank-blank, get this baby OUT OF HERE RIGHT NOW." The hurt goes deeper, gets more productive, and instead of having nurses coming in and out every once in a while to check on you, trying to remember everything you've read in those child birthing books, or listening to your husband beside you trying to fumble through helping you breathe....  you have a doctor and a dedicated nurse who tells you exactly, specifically what to do so you can deliver this beautiful, sweet, wonderful baby.


Our writing needs to transition as well. At some point, the feedback you receive needs to go deeper, get more productive. Instead of having multiple people telling you different things to try (which might not all work for your story), you need to narrow your focus, get experts in there that know exactly what you need to do, who can tell you what to do without a lot of fluff.

So... how do you find this quality feedback?

Here are two of the main ways to get that deep, lasting, productive feedback.

• A FANTASTIC critique partner - This is someone who gets your voice and doesn't try to change it (unless your voice is getting squeeky and annoying...) Someone who has no problem giving you tough love and telling you like it is. Someone who understands the genre that you write in. Someone whose strengths complements your weaknesses, and visa versa.
• Pros: 
• Doesn't cost any $$
• Can grow into a long-term arrangement that is mutually beneficial, a personal touch
• Can include indepth discussions on items, brainstorming help, and general encouragement at all stages of the process.
• Cons:
• Hard to find
• If it doesn't work out, it can be very humbling and difficult to dissolve the relationship.
• A large time investment is needed, as you're "paying" them in edits of their own work.

• HIRE A PROFESSIONAL EDITOR - One good way to get solid, thorough feedback on your writing is to hire an editor. This is someone who has a proven record in editing and knows their stuff well. My agent, Rachelle Gardner, has a good list on her website of credible editors that she recommends here.
  
• Pros: 
• You know you're getting GREAT feedback and can vet the person before hiring them.
• A timely turnaround
• If it doesn't work out... you just use someone different next time. Hard feelings need not apply.
• Cons:
• Costly. Price usually depends on what time of edit, how long the work is that you are submitting to them, and sometimes is a customized price based on how much editing will be needed.
• This is usually a one-time edit with opportunity to discuss, but is not a long-term relationship for this book.

Not everyone is  ready for this level. Really, this shouldn't come until you've done the whole crit group thing, done the contest rounds, gotten some feedback and done a LOT of editing on your manuscript to make it the best you can. So don't feel like you have to go spend a grand on editing right now.

Wait until you've exhausted the rest of your resources and are ready to transition.

Discussion: Have you ever hired a professional editor? What was your experience with it? Do you think you are at or near the transition point of your writing career?

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Krista is a follower of Jesus, a wife, a mother, and a contemporary romance author. She blogs about the amazing things God has been doing and her journey as a busy momma of 4 and caregiver to a daughter with a rare congenital heart defect at http://www.kristaphillips.com. She is represented by the fab agent, Rachelle Gardner, and her debut novel, Sandwich, With a Side of Romance, releases September 2012.

Are You an Avid Reader? Then You're a Critiquer.

It seems we have a theme on the Alley around here...taking in Mary's post from yesterday and Pepper's post from Monday and you've got a tutorial on writing those all-important first lines and finding the right help to make them stronger.

Recently I attended a chat at the My Book Therapy ning center (fabulous place if you haven't looked it up) about critiquing and critique partners. One of the gals attending the chat asked: when do I know I'm ready to critique someone else's work? 


My fingers were just itching to post a response to her question, but I held back in respect for the speaker. ;-)

My response (had I given it?): "Are you a reader?"

Seriously. Are you a reader?

If you're a reader, thus you can critique.

Let me explain, because I have an addendum to that statement: are you an avid reader? If you pretty much dream, eat and sleep and forget-to-make-dinner reading, then most likely you'll make a pretty good critique partner.

That is point #1. If you can do this top one, you can critique.  Yes, it's really as simple as that.

My awesome CP Andrea Nell, 2011 Frasier winner
& 2012 Genesis Semi-Finalist

Point #2. Can you articulate your thoughts? Can you spot a mistake in a manuscript and give the author a bit of advice on how to fix it? The comment "I don't like this..." or "this doesn't work for me..." gives your CP (critique partner) nothing to go on. When something doesn't work for you, take a moment and think about why it doesn't work. Compare it to another book that you possibly didn't like and then give your CP a constructive comment on what does/doesn't work. You don't always have to understand, or completely pinpoint WHY something doesn't work for you...don't worry, this will come with time and experience.

Want to be an even better critique partner?

Read on the industry. You should be doing this for your own personal benefit as well, but it will spill over into your CP's needs. Study craft books, read professional websites and learn.

Point #3. Okay, be a reader, be a study-er. If you are both of these, you're getting better and better all the time!

So you read. You're writing a novel (doesn't always need to be a prerequisite. My grandmother is an awesome critter and she doesn't write. ;-). You're able to share your thoughts coherently. And you are reading up on the industry.

Point #4....are you currently editing your own work? Most likely if you're searching for a CP, you're already writing. If you are editing your own work, this gives you an editor's eye. You're already in the mindset of making things better.

We've got a road map, we know where to go from here and you just might very well be great CP material.

Roadmap overview:
Read and read lots. Be critical of your read and why you like it. Or don't.
Keep writing and editing.
Study the industry.
Don't let fear of not being "good enough" stop you.

One word of advice to new CP's: Don't be intimidated. You have something to offer. Follow the roadmap and you'll help someone.


Be humble.

Don't critique as though you know it all. (no one really does)

Be kind.

Be courteous and realize you are learning on another author. They get it. They understand and guess what...you might have advice they need to hear.

Don't let anyone look down on you because you are young, but set an example for the believers in speech, in life, in love, in faith and in purity. 1 Timothy 4:12

Don't let your "lack of experience" stop you from critiquing. It's not a matter of who is better than so-and-so. Or whether your skill set matches the other. You might have an eye that picks up on something your CP had never thought of. And if you continue to stand on the sidelines "until your ready", you'll never get up and dance.

Joining a critique relationship should not be as complicated as we make it. It seems that way, it takes time to build trust, but it's not a if-I-don't-breathe-right-my-CP-will-dump-me formula.

Remember: we can all learn from each other. No matter what level we are at.

What's your best CP advice?

Critique Partners: How the Heck Do You Find One?

So, you've decided that you want to take the plunge and join a critique group.

Um, that's find and good and all.

But how are you going to find one?

MAKE A NEEDS LIST

The first step is to make a list of what your own personal needs/wants are in a critique partnership.

• Do you want a bigger group, or just a one or two-person partnership?
• How much time do you want to devote to this? 
• Do you want a local in-person group, or would an online group suffice?
• Do you want to "meet" to discuss at a set increment of time, or keep it informal?
• How often do you want to submit?
• What "level" of critiquers are you looking for?

SEEK AND YE SHALL FIND

Once you know what you want out of a critique group, it's time to look for one. This is easier said than done.

Some tips:

• Join writer's groups, both online and locally. Many already have modules in place to help place you in a critique group.
• Network, Network, Network. And then network some more. Visit writer's blogs. Like them or Friend them on Facebook. Follow them on twitter. Generally, just stalk them. (just not in a creepy way, thank you very much.) Some of the BEST critique relationships are grown organically out of relationships built.
• Be bold. (but not too annoying.) It doesn't hurt to ask someone if they are looking for a crit group. Or, just put it out there that you're looking for one. There is a distinct possibility that someone else in your "realm" is looking for the same thing.
• Once you find someone interested, don't be afraid to discuss it before jumping in. Make sure your goals and expectations match. Exchange a chapter and make sure you are comfortable offering feedback. It is totally okay to say, "You know what, thanks so much for being willing to critique my stuff, but I don't think I'm the best person to critique your work." 
• Have a trial period. Say, try it out for a month, and if it isn't working with your schedule or if it just isn't clicking, you can walk away. Granted, you can ALWAYS walk away from a critique partner, but this give you an easier out if the good-vibes just aren't there.

 My story:

I've gone through a few groups. The thing is: I don't regret any of them! They all served a purpose for the time I had them, and I'm a better writer for them.

My first group will always be dear to my heart. They took a fledgling author that didn't know ANY writing rules and taught me the basics. They read through my whole manuscript that first year and allowed me to cut my teeth on it, so to speak. I learned about POV and adverb usage and, wow. Pretty much every elementary writing guideline there is!

But eventually we outgrew each other, and some got busy, and we naturally went our separate ways. We still e-mail from time to time.

After that, I was in a group from ACFW's new critique system. The ladies in this group where fabulous, but I realized quickly that I was way in over my head. There were 5 of us submitting frequently I believe, and it was just way too many for me to keep track. I was spending more time critiquing than I was writing. In my stage of life and writing, it just wasn't conducive.

Next, I tried a local writer's group. I LOVED these women, and still do, but after a few months, it was clear that while our critiques were great, timing wasn't fabulous for any of us.

Then last year, I mentioned to my fellow alley-cats that I'd decided that a crit group was not for me, and would rather start looking for a crit "partner" as I felt that, since I was now contracted and agented, I really didn't have time for much more than that.

Low and behold... Sarah, my fellow alley-cat, e-mailed me, saying that she'd been looking for a crit partner too! She already had one, but was wanting to add one more separate partner.

I said, YES YES YES!

Well, first we talked about what we wanted out of the group. We both didn't want "a chapter a month" but to be able to send larger chunks as needed, and to be flexible. We wanted to be able to brainstorm ideas and just in general be a support to each other.

It was a match made heaven... er, the alley!

Discussion: Do you have a crit group/partner? How did you find one? Are you currently looking?

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Krista is a follower of Jesus, a wife, a mother, and a contemporary romance author. She recognizes that life can be frustrating and just plain not fun sometimes, but believes that laughter and smiles can make the not-so-fun a little better! She blogs about the amazing things God has been doing and her journey as a busy momma of 4 and caregiver to a daughter with a rare congenital heart defect at http://reflectionsbykrista.blogspot.com. She is also a contributor at www.wordservewatercooler.com. She is represented by the fab agent, Rachelle Gardner, and her debut novel, Sandwich, With a Side of Romance, releases in September 2012.

Critique Partners: Am I ready?

There comes a point in every writers life where they ask:

Am I ready for a critique partner?


There is no right or wrong answer.

In fact, for some writers, the answer is NO, and they'll never get or need one. They are a pretty secluded group though.

A few questions to ask yourself:

Have I completed a book? Some might disagree, but personally, I don't think you should get a critique partner until after you've at least finished your first draft of your first book.

Have I taken steps to learn the craft of writing? Have you read books on the craft? Gone to writing conferences? Studied other books in your genre? Not only does this help your own work in progress, but it develops skills that will make you valuable to a critique partner.

Is my book the BEST I can get it? Not only do you need to complete your book, but you should edit it as well. It is a waste of a critiquers time if they spend it all correcting things you could have easily fixed yourself.

How thick is my skin? Getting tough feedback from a writing peer is HARD. It can break the strongest person's writing will. So make sure you've worked that skin up and developed some callouses so you can take that feedback and apply it without becoming too emotional or bent out of shape.

Do I have the time? Not only are you devoting time to your own writing, taking on a crit partner also means you'll need to make time to edit THEIR material. It's a two-way street. Count the time costs and engage appropriately !

So... if you've decided that yes, it's time to make the crit partner leap, where do you go from there? Stay tuned for my next post in two weeks titled Critique Partners: How the heck do you find one?

If you've decided that nah, not to that point yet, good for you! Keep working toward that goal! You can do it!

Discussion: Do you have a crit partner/group relationship? Have you had one in the past? Share your experiences! If you haven't... why not?Are you just not ready or having trouble finding one?

The Value of Pausing for A Critique

I love getting criticism...I know that's a weird thing to admit, and sometimes it is a hard pill to swallow, but I have yet to come across a critique or suggestion that has made me worse off as a writer...as long as I can decipher the good from the bad, of course!

Whether it be from:

(all the below have helped me at some point in my short writing venture)

a manuscript review

comments from ACFW Genesis judges

an agent's rejection letter with the “whys” answered

the ACFW large crit group

or a fab crit partner....

If I can sit and take it, and then really chew on the advice and figure out how it applies, IF it applies (some crits just need to be taken with a grain of salt), I'll crave a keen eye and welcome a challenge like a writing olympian!

Once I get that invaluable crit, I must choose to either press forward on my wip, and ignore the holes pointed out, save them for later or never (I usually want word count under my belt, and strive to get to that exciting point in my plot, or that a-ha moment for my main character...) OR I can cave in to the nudge and press

   PAUSE,

then...

   REWIND

to the critiqued chapters...

                                          

and hash out the words of advice against the words of my wip.

The value of doing this has become more and more clear to me over this past year of receiving crits.

First, something as simple as grammar pointed out in the early chapters will allow me to not repeat the same mistakes throughout the rest of my writing...and if anyone needs grammar advice it is ME!

Second, my writer/creator eyes aren't the same as brand new baby eyes upon my work. Sometimes I am so invested in my characters and story, I assume everyone will read my words with the utmost clarity and delight. But I need to be sure to hook the reader effectively, and a crit partner is the first person to “test” my writing's believability and comprehension. If there is any question on their part, then I have a great opportunity to be sure that what I'm writing is what I intended to convey.

Third, sometimes a criticism may spark a deeper change than a couple of grammar mistakes or a tightening of pov...sometimes the spark might be plot changing, deepening of characters, or weaving the theme in such a way I will double my word count in a matter of hours because of the inspiration I've been given.

FAST FORWARD is the mode I most naturally want to write in-- it's the pace my creative juices thrive on...BUT, if I allow my crit partner or crit group to press pause every once in a while, and I steady my pace, REWIND becomes my friend, no matter how hard it is for me to initially push that button!


How do you manage your critiques? Do you stop and adjust the critiqued chapters, or do you wait until you go through your next manuscript edit? Have you ever been inspired to make a major change in your wip from a particular critique?

Critiquing With Grace & A Little Panache

So you have finished writing a novel and you have edited the ink right off of it. So now what? You find some willing eyes to look over your work and tell you what you missed. And you do the same for them. That's right! You find a critique partner/group that you can share your story with that will be honest and open about the problems with your story.

And yes, there will be issues with the brilliant story you've woven. There are no perfect writers, and even the best of the best need some tweaking here and there.

Now is the time you need to find these critique-ers, or critters, as I like to call them. You can ask a writer friend, like I did with fellow Alley Cat, Pepper. (And she is brilliant, btw, adding description and depth where I am lacking.) Or you can join a large critique pool like the one offered by ACFW. I recently joined and am starting to get some pretty good feedback. You critique two submissions (no larger than 2500 words) for every one that you submit. A good thing about a pool is that sometimes smaller groups form naturally, which can be very beneficial.

Once you have received a chapter to critique, what do you do? There are two ways to format your critiques.

1. If you are using Word, use the Review Track Changes. This allows you to add (periods, commas, words, etc.) and delete (unnecessary phrases, punctuation, etc.) easily, while allowing the author to Accept or Reject those changes with a click of the mouse.
2. You can type directly into the document, using a different color font, making your comments and suggesting within.

Tips for Critiquing:

• Let the author know what you liked about their work. There is always good in every story and the author needs to hear what works.
• Look at the story as a reader. What worked? What didn't? Did you like the characters? Is the plot believable? Did you want to keep reading?
• Let the author know things that need to be fixed. Punctuation, grammar mistakes, passive verbs, cliches, too many pronouns, repetitive words, unnecessary words or phrases, telling instead of showing, etc. 
• When you are alerting the author to what is wrong, give examples of how it could be fixed. Show an active sentence instead of a passive one. Let the author see how to 'show' instead of 'tell'. Give examples, so that the author understands what really needs to happen.
• Never put down the author. It takes a lot of courage to write and then let others read their work, so be gentle. You may not like the story or the genre, but you can critique the story without degrading the author. 
• Critique like you want to be critiqued. The Golden Rule of Critique-land. 'Nuff said.

Critiquing is all about the give and take of fellow writers, working to make their story better, and helping others to do the same. It's about generosity. It's about growing into maturity as a writer. It's about grace.

Let's be gracious writers. Let's build up one another in love, for we know what goes around, comes around. 

Special Guest(s) Saturday: Deborah Raney & Tamera Alexander

IRON SHARPENING IRON

Tamera Alexander & Deborah Raney

"As iron sharpens iron, so one man sharpens another."

Proverbs 27:17

Tamera Alexander and Deborah Raney have been critique partners for more than six years––ever since they met at a writer’s conference and Tammy volunteered to critique Deb’s manuscript for Playing by Heart. While not all critique partners become friends, friendship has been a natural outgrowth of Deb and Tammy’s working relationship. Over the course of critiquing almost a dozen manuscripts between them, they have learned much about what to look for in a critique partner, what works, what doesn’t, how to handle conflict and competition, and how to “agree to disagree” with grace.

Writing can be a lonely pursuit and it's easy to become so close to your own work that you can no longer be objective. A writing critique partner can provide encouragement, a new perspective, growth in the craft of writing, and a kick in the pants when necessary.

Here, in a discussion taken from their article in A Novel Idea, Deb and Tammy share just a few of the things they’ve gleaned through their working partnership:

Where and how do I find a critique partner?

TAMMY:

• One-on-one partnerships often develop naturally out of larger critique groups; so join a group with an eye to eventually working with one other writer as a critique partner.

• Connect with someone you meet at a writer's conference. That's where I met Deb and we just clicked as friends before we ever became writing critique partners.

• Connect with someone from a local writer's club or group.

• Ask a non-writing friend or relative who is well read to critique your manuscript. Perhaps barter babysitting or cooking or housecleaning in exchange for those services. A non-writer who loves to read your genre can be an invaluable source for clarity and pacing of story.

• If feasible, consider paying a professional editor for a critique. An organization of which Deb and I are both members is American Christian Fiction Writers (http://www.acfw.com/ ), and there are numerous well-qualified editors within the ACFW membership, as well as critique group opportunities.

• Sign up for a paid critique at a local or national writer's conference you’re attending. Worth every penny!

• As a last resort (and it's a good idea anyway even if you have a critique partner because you need to keep your skills sharpened) become your own critique partner. Read books on self-editing, such as:

o Revision & Self-Editing, James Scott Bell, Writer’s Digest Books

o Self-Editing for Fiction Writers, Renni Browne & Dave King, HarperCollins

• Take advantage of online opportunities to post your work for critique. If someone likes your work, or sees potential in it, they may be interested in partnering with you.

• Offer to critique for a published author. I took a risk and asked Deb if she'd be willing for me to read for her. I knew it was a long shot, and I'm certainly not suggesting you start contacting novelists at random, asking to critique their work. But if you've established a relationship with a published author at a conference or online, it might be a possibility, and it’s a great way to learn. And then once I was published, Deb was willing to critique my work in exchange.

Why have a critique partner?

DEB:

• At the point when we most need to be objective, we are too close to our own story to read it as an unbiased reader, let alone evaluate it critically. Tammy is able to offer perspective that I've potentially lost, being so close to my own work. We’re able to see not only technical glitches in each other’s work but also story strengths and weaknesses, and ways to potentially deepen the layers of the story and characters.

• We bring only one opinion or viewpoint to the reading of our own work—and it's obviously very biased. A critique partner can view our work from a different point of view since they’ve likely had a different upbringing, different life experiences, and therefore have a much different “filter” through which to read your work. (For example, I live in a small town and Tammy lives in a larger city. Amazing what different perspectives that affords us!)

• Since Tammy isn't so close to my story, she often comes up with ideas or plot directions I never would have dreamed of.

• Almost any two people working together bring two sets of strengths to the table, and offset each other's weaknesses.

• It makes a solitary occupation so much more fun! Working with Tammy provides that human touch a career in writing is often missing. With the wonder of technology, we’re only a click or call away.

• When one of us is down, we can build each other up! Tammy and I are tough on each other, but we also try to be each other's biggest fan.

• It's so much easier to see "mistakes/room for growth" in someone else's writing. We learn from critiquing each other's manuscripts, and then can apply those principles to our own writing.

• Brainstorming! With today’s technology, critique partners don’t have to be next-door neighbors or even live in the same state. With applications such as SKYPE (skype.com) and iChat (for Macs), you can “video brainstorm” any time, day or night. And it’s free! Plus, if you use something like Google Talk, you’ll have a “text copy” of all those ideas for future reference.

Why choose a partnership vs. a critique group?

TAMMY:

• Time element––it takes much more time to critique three or four manuscripts vs. just one. With both of us writing on deadline, it's all Deb and I can do to crit for each other.

• Too many cooks can sometimes spoil the soup. Writing “by committee" can really mess with a writer's voice. It’s a fine balance to stay true to your voice, while also striving to remain open and teachable. While Deb and I write in different genres, our voices and style are quite similar.

• Deeper relationship––you really develop a saety net within a one-on-one relationship, which fosters trust and the ability to speak the truth in love. Deb and I have grown to the point that we can be very blunt in our assessment of each other’s work, but that doesn’t mean we only point out the negative. We're careful to make note of what we admire about each other's writing, too, and generously sprinkle plenty of encouragements throughout our critiques. A good critique should be one in which the writer clearly sees what needs to be changed and feels equipped and empowered to address those issues––not beaten down into the dust, discouraged and ready to give up.

• By concentrating on the one-on-one relationship, we are able to focus more on that one person’s unique strengths and weaknesses as a writer. And likewise, they can do the same for us.

When is a critique group more appropriate than a one-on-one critique partner?

DEB:

• When you're first starting out and still learning the basics of writing, it’s good to have input from multiple writers because, chances are, you have a lot of basics you’re still needing to learn. Having multiple critique partners can also help you find your voice as a writer. When Tammy was in a critique group early on, she would watch for similarities in critiques from her writing partners. Would three of the four writers make the same comment about a certain character or plot point? Or would it only be one writer making that particular comment? That helped her to develop confidence in her own voice while still weighing the counsel of others.

• When you desire quick response/input from more than one person about a particular aspect of your work. Life sometimes gets in the way of responding as quickly to tasks as we’d like. Same for writing partners, especially if you’re both on deadlines. The chances of having someone available to read your work in a timely manner are much greater if you’re part of a group.

• When you haven't found that right critique partner yet (and you’re in God's “waiting room”). Often, your critique group is where you'll find a critique partner and—once the time is right, or the group grows to the point of needing to form another branch—you can “offshoot” from the original group and form that more personal critique relationship.

• So that you can learn how to critique. There are many styles of critiquing. Again, it's not just about pointing out what's wrong, but about "equipping" another writer to be the best writer possible. Writers often have their specific areas of expertise as well—be it a strength in characterization, dialogue, plot, creating believable story worlds—so being part of a group can expose you to a wider variety of writer strengths, and therefore, opportunities to learn.

Pointers for finding a critique partner:

TAMMY & DEB:

• First and foremost, pray about who God might pair you with.

• Seek someone whose strengths make up for your weaknesses, and vice versa.

• Ask God to keep your heart teachable.

• Attend local or national conferences.

• Be open to critiquing others’ work. (You never know what will come from that offer to help out.)

Whether you’re already in a writing critique group or a writing critique one-on-one partnership, or you’re still looking for that right group or person, the goal is to keep improving your writing skills and honing your craft. None of us ever ceases needing to learn, needing to grow. We want to give God our best, and as King David said in II Samuel 24:24, “I will not offer as a sacrifice to the Lord my God a burnt offering [or in our case, our writing] that costs me nothing.”

So be willing to pay the price, hone your craft, and give God your best. And keep your eyes open to the possibility of a critique partner to share the “cost” along the way.

Tamera Alexander is the best-selling author of Rekindled, Revealed and Remembered, the critically acclaimed Fountain Creek Chronicles historical series with Bethany House Publishers. Tamera's deeply drawn characters, thought-provoking plots, and poignant prose have earned her devoted readers—and multiple industry awards.

DEBORAH RANEY is at work on her nineteenth novel. Her books have won the RITA Award, HOLT Medallion, National Readers' Choice Award, Silver Angel, and have twice been Christy Award finalists. Her first novel, A Vow to Cherish, inspired the highly acclaimed World Wide Pictures film of the same title. Her newest books, the Clayburn Novels, are from Howard/Simon & Schuster. She and her husband, Ken Raney, have four children and enjoy small- town life in Kansas.

We at the Writer's Alley want to thank these two lovely ladies for sharing their expertise and we wish them great success in their novel puruists.
 
If you would like to read more of Deb and Tammy's articale, check out the book, A Novel Idea I own the book myself and found it to be a great writing resource. Follow the link to learn more.