All Hail Early Readers

by Malena Lott

Every writer needs a good early reader posse. After we've done our crappy first draft, pretty good

second draft and extremely detailed third draft, left it for a while, returned with fresh eyes, edited the hell out of it some more, and then gave it to our critique partner or early readers, the manuscript still isn't done going through the ringer.

While we've been discussing critique partners and small groups, there is something to be said about a small group of early readers who know your work and are willing to read your story in its final stages to catch for mistakes, clunky sentences or anything that makes the reader stumble.

And beyond the early reader, we have early reviewers who get uncorrected proofs and are happy to provide feedback if they get it to you in time.

Lastly there are the readers who were first purchasers who may even catch mistakes that all of those others did not. If you are indie publishing you can make those changes and re-upload. In a recent interview WOOL best-selling author Hugh Howey thanked his early fans for giving him corrections in his books.

If you're a writer, consider all of the above. Reaching out on social media or in writing groups is a great way to find early readers who love your genre. Sure, some things will be subjective, but being informed of mistakes is a gift.

I thought I'd flip the coin and give you a short list of what I look for when I'm a final reader on a book being published by Buzz Books USA BESIDES GRAMMATICAL ERRORS. I try to read it straight through in a couple of days so it's very fresh on my mind.

• pacing 
• overuse of adjectives
• too many clauses that slow down the rhythm 
• stilted dialogue or too much dialogue (you aren't giving speeches back and forth)
• asking myself if I'm seeing what's happening (can I clearly see the characters, setting and so forth)
• does it keep my attention (do I get bored in any scene?)
• the page-turning aspect, especially at the end of each chapter (does it end where it should?)
• overall satisfaction in the story - did it leave me feeling I got what I came for?

Good luck! 

Malena Lott is the author of five women's fiction novels, two novellas and several short stories. Her latest books is Family Charms and she's currently working on a surprise holiday novella called Sterling and Sloane she hopes to release before the holidays have come and gone this year. She writes young adult under the pen name Lena Brown. 

Get critiqued. Not too much. Mostly peers. by Ariella Papa

(Much credit given to Michael Pollan who writes in his book In Defense of Food: Eat food. Not too much. Mostly plants.)

I stopped taking workshops because I think too many workshops can stop you from the task at hand--writing the effing book.

But before I ever got published, I took quite a few workshops through the New School here in NYC. In several classes I offered to be the teacher’s assistant. This meant that I picked up her mail from the main office so that I could get a tuition discount and afford the course.

Three people per session handed out physical copies of their work to be read over the week and then we all discussed it the following week and gave written notes.

The fact that the teacher was getting physical mail and we were making hard copies shows you how long ago this was.

I got a lot out of these classes, because there were so many different levels of writers and it was such a diverse group.  I love reading, so I loved reading other people’s work and in each class I quickly found authors whose work resonated with me. I enjoyed seeing what my favorite writers thought of my work, but I also learned quite a bit from the comments of people who I didn’t think were as talented.

There is always a question of personalities in a classroom. Some people just like to hear themselves talk, others won’t say a word unless pressed, but none of that really mattered when it came to the actual substance of writing. I learned when I was critiquing others to always start with something positive. And I learned to clarify any criticism that came my way if I didn’t understand it.

There is a lot to be learned from both good and bad writing. And I valued the democracy in those workshops. We weren’t all writing from the same genre, so we had to make our pieces as strong as possible for a general audience.

There is also something to be said for having a deadline to have something completed. It’s a fantastic motivator.

But the best thing about these workshops was the access to the teachers who were actual authors and the agents and industry professionals who came to the class. In a sense it demystified the whole publishing thing for me. I can do this, I thought. And I did.

Many of the people in those classes with me went on to be writers of different types. Some even surpassed the levels of those who taught us. Right now one of them is on the New York Times bestseller list and has been for a long time. While her talent was always there, I’m sure she gained some insights into her writing from the class and improved her rough drafts enough to secure a big deal.

I’ve been reading my Girlfriends write about their own critique groups with envy.  These small groups are a whole different animal than what I did. Someday maybe someday soon I would like to gather a smaller group together of like-minded (but not too similar) writers and work stuff out. These days I rely on the advice of a few trusted readers and people I know in the industry. But a devoted group with rules and goals sounds fantastic.

So if you are struggling with a work that you have never shared and you are serious about doing this find a workshop and get some feedback. And if you are a writer who is stuck on something or just wants some good ole fashioned camaraderie and critiques check out the previous posts from Wendy, Sheila, Laura and Lauren about how to get it. They have helped me think about how to go about my process in the future.

But whichever road you choose, keep your eyes on the prize. Get writing and write the effing book.

Ariella Papa started writing her most recently released novel A Semester Abroad in a workshop a long time ago. In the meantime, she wrote and published four other novels. Everything benefits from a good critique.

Critique Groups: The Best of Times and the Worst of Times by Wendy Nelson Tokunaga

I’m certain that virtually every published novelist has benefited from getting feedback from a critique group. And I’m sure every published novelist has had the experience of pulling out her hair and running down the street screaming after at least one critique group meeting. That’s the nature of the beast when it comes to critique groups: you probably can’t live with them, but you also can’t live without them.

No matter how experienced of a writer you are, it’s rough to hear what’s wrong with your novel, no matter how constructive the feedback. But the best way I’ve found to take constructive criticism is to think of it as a gift, something that will help me look at the big picture of my novel and will inspire me. The ideal is when this results in an epiphany of how to fix things so that the novel will be the best it can be. And a good critique group can help you accomplish this.

However, finding a good critique group can be tricky. Every writer probably has her wish list for a dream critique group. Here’s mine:

~ An in-person group that meets at a time and place convenient for all members.

~ Members who are equal to me in writing skill or even better so I can learn from them.

~ All members working on novels (though memoirs can work too).

~ Every member willing to read 20-25 pages at a time (and even more in some cases).

~ Verbal feedback given during the meeting, and also written feedback to take home.

~ Emphasis on the “big picture” as opposed to line editing.

~ The bulk of the meeting spent on critiquing as opposed to socializing or group therapy.

~ Members who are committed to the group and also willing to discuss general writing and craft issues.

How do you find a critique group? That can be tricky too. Many people find groups through the local chapters of writing organizations such as Mystery Writers of America, Romance Writers of America, Sisters in Crime, etc. You can also find people through writers conferences, colleges where creative writing is taught and through MeetUps.

Online critique groups are great for those in more challenging geographic areas, though one of the benefits of face-to-face groups is the ability to break away from the isolation that plagues many writers. But there are some who feel that it’s a bit easier to take criticism via the online world instead of in-person. What wouldn’t be appropriate in a face-to-face group (e.g., yelling Shut up, shut up, shut up—you don’t know what the hell you’re talking about) is quite acceptable when sitting in front of the computer in the privacy of your own home. She Writes and Ladies Who Critique are just a couple of groups that provide services to match critique partners online.

Girlfriends, what is your wish list for your dream critique group?

Wendy Nelson Tokunaga is the author of the novels, "Midori by Moonlight" and "Love in Translation" (both published by St. Martin's Press), and the e-book novels, "Falling Uphill" and "His Wife and Daughters," and e-book short story, “The Girl in the Tapestry.” She's also the author of the nonfiction e-book, "Marriage in Translation: Foreign Wife, Japanese Husband."  Wendy holds an MFA in Creative Writing from University of San Francisco and teaches for Stanford University's Online Writer's Studio Novel Certificate Program. She also does private manuscript consulting for novels and memoirs. Follow her on Twitter at @Wendy_Tokunaga, friend her on Facebook and visit her website at: www.WendyTokunaga.com

To Critique...Or Not To Critique...That Is The Question!

Oh, hey, look! New photo!

And the answer is…to critique!  Okay, that was super cheesy. Sorry about that. But I’m a huge fan of critiquing when you are a writer. And by ‘huge fan,’ I mean I couldn’t write books without it.

When I first started out writing, in my 30’s, when I was finally ready to give it a shot (yes, I’m a late bloomer), I sought out my local Romance Writers of America chapter and decided to go to the first meeting.

Our chapter was and still is tiny. Only maybe 12 people.  

So the decision was made years ago to make it a monthly critique group. Meeting at a local house that is a museum, the group sits around a table and we have a reader – someone who reads your pages aloud while everyone follows along on a printed copy.

We had a couple of rules – 10 page maximum, 1 inch margins, 12pt. font double spaced. It may sound strict, but when you’re reading 6-8 people in one night – it’s easier on the eyes. While the reader read, we took notes on the print outs in front of us. When it was done, we commented.

It was invaluable. I learned so much from this process. I met people from bigger chapters at the national RWA conferences and actually felt sorry for them that they didn’t have this.

Having it read out loud helped because then I caught awkward dialogue.  People commented on the big stuff, but I could always find the grammar errors on the pages handed back to me at the end. People caught continuity issues, grammar and spelling errors, clunky dialogue and much much more.

We had 2 members of the group who had been published by the Big 6 for more than 20 years. They had a number of RITAS between them and had been critique partners with each other since they started out.  I felt like I was cavorting with the gods.

When I sold my first novel to New York, however, things changed. The group started to get bigger. And I found I wasn’t getting much feedback anymore from the writers who weren’t published. The consensus was that now I had a publisher and editor – what did I need them for?  It became a huge problem for me.

And the group got bigger. Everyone bringing ten pages, now meant we’d be there all night. The new president decided to create a rotation chart – with only six people being read each month. It was fair, and I understood that. But now I had deadlines and with the new rule, I might go two or three months without any critique.

About this time, the two professional novelists in the group pulled me aside. They wanted to know if I wanted to meet weekly with them. They needed more feedback and regularly and figured I did to.

We tried to do both groups for a while, but frankly, we ended up not going back to the RWA chapter. It was too much, and I think we all felt a little sad about that.

The three of us met every Thursday night at the local library – and we added a fourth author who writes YA and brings a lot of good, healthy critiquing to the table. We’ve changed the time and day of the week over time, but since 2007, we’ve been meeting regularly. And it has been one of the best things to happen to me as a writer.

We all write different things. We all have different strengths. And we all benefit from each other’s input. These people saved my career more than once. Their input on my work has been invaluable from the, “That was the funniest scene I’ve ever read!” to “I think you should rewrite that whole chapter – it isn’t working.” In fact, the stuff like the latter comment has been the most valuable (although I’d love to hear the first one…well…constantly).

What it all boils down to is, I couldn’t do this job without having other writers look over what I’m doing. They’ve made me a better writer and I hope, in some small way, I’ve helped them too.

Fighting for the underdog by Brenda Janowitz

It's so hard to get publicity for your books.  For every 50 Shades of Grey, there are about 50,000 other great books that get published and go un-noticed.  For each of my three books, I tried so hard to get the word out-- but I was never able to break into the pages of People or Entertainment Weekly, or any of the big publications that cover books. And the only way to sell books is, well, you know, to have people know that you actually wrote one.

That's why I was so thrilled when the wonderful Debbi Honorof offered me a mini book review column called Brenda's Book Briefs in Long Island Woman Magazine!  It was a no-brainer for me to accept the gig-- after all, I usually read a different book each week-- but then, I realized it could be bigger than just talking about the books that everyone else was talking about.  This gave me an opportunity.  I could champion the books I love, the authors I've fallen in love with, the ones who don't have a voice.

My first column was published yesterday, and I talked about the women's fiction novel NEW MONEY, by Lorraine Zago Rosenthal, an amazing writer who also writes Young Adult.

What do you think of the first column?  I hope to keep bringing you books written by the underdogs-- the ones who don't get coverage in People Magazine, the ones who aren't all over the NYT Book Review.  I hope you'll come along with me for the ride!

I’m the author of SCOT ON THE ROCKS and JACK WITH A TWIST. My third novel, RECIPE FOR A HAPPY LIFE, was published by St. Martin's on July 2, 2013. My work’s also appeared in the New York Post and Publisher’s Weekly. You can find me at brendajanowitz.com or on Twitter at @BrendaJanowitz.

Murder on the Beach

by Sara Rosett

When we moved to Georgia, I kept hearing about the great beaches on Florida’s Gulf Coast, but I didn’t get too excited because I wasn’t much of a beach girl—probably because I’d grown up in one of the highest and driest parts of Texas. I usually picked the mountains over the beach for a vacation. The few times I’d been to the beach had involved murky water and crowds packed so tightly on the sand that I felt more like a sardine than a sunbather, but despite my lack of enthusiasm we eventually planned a trip to Destin, Florida. 

It was amazing.

The pure white sand contrasted sharply with the turquoise-tinted water that stretched to the horizon. Up close, as the waves broke on the sand, the water was amazingly clear. I looked at my husband and said, “I’m ruined forever. This is what a beach should be like.” 

I loved that beach and thought it would be a great setting for a book, so when I sat down to plot the next Ellie book, I decided Ellie and her family needed to go on a beach vacation to Sandy Beach, my fictionalized version of Destin. 

Of course, it’s a mystery and Ellie doesn’t get to spend nearly as much time on the beach as I did—she’s busy hunting for a killer, but I did get to describe the beautiful beaches, the posh hotels, and the kitschy souvenirs. We also had a real-life shark sighting on the beach, and I knew that had to go in the book, too.

Except for the shark part and the natural beauty of the Gulf Coast, everything else in the story is made-up—the murder, the paparazzi-stalking media who descend on the town, and the race to unmask a killer.

It’s one of my favorite things about writing—setting stories in places I’ve lived and visited. So far, in the Ellie books, I’ve written about the Inland Northwest (Washington state), Georgia, Washington D.C., and now Florida. My other book series, On the Run, features international destinations like London, Venice, Paris, Pompeii, and Capri. I’ve really enjoyed writing about each of these places.

Do you have a favorite setting/locale you like to read about?

~Sara

P.S. I have a Rafflecopter giveaway set up to celebrate the release of Milkshakes, Mermaids, and Murder. :)

Sara writes the Ellie Avery mystery series and the On The Run suspense series. 

Photo by L. Rosett 

  

 Publishers Weekly called Sara’s books, "satisfying," "well-executed," and "sparkling."

Sara loves all things bookish, considers dark chocolate a daily requirement, and is on a quest for the best bruschetta. Connect with her at www.SaraRosett.com. You can also find her on Facebook, Twitter, Pinterest, or Goodreads.

My Notes Are Attached

By Laura Spinella

In the past six months, every so often, Karin Gillespie—the founder of this very blog—has said to me, “Laura, you have toilet paper stuck to the bottom of your shoe.” Now, it’s worth noting that Karin and I have never physically met. We live a thousand miles apart. Yet, I have come to count on her honesty, a willingness to point out my missteps before I plunge willy-nilly into a situation that, with a bit of care, I might otherwise avoid. While I’m sure Karin would also rush to my aid to warn of liquor on my breath or spinach in my teeth, what I’m really referring to here is the laborious, ego-encrusted task of writing.    
 Let me back the truck up so you can better follow my point. Our new GBC topic is about critiquing. Depending on your source, it can be a writer’s best friend or the equivalent of taking a Dremel 4000 to your teeth. Who you choose to partner with can be as important as what you decide to write. And like any writer, I don’t relish the thought, but I do embrace the fact that I’ve never learned a damn thing from a five-star review or someone gushing the words “I loved your book!” Great for the ego, the muse will ask for a raise, but the writer in you will not improve one iota. With that understood, though never really discussed, Karin and I waded into the ocean of critique--you know how those first steps go. You wonder if there will be something firm underfoot or will saltwater rush up your nose as you tumble off into the weightless abyss. Well, only time and few chapters would tell... 

       I’ll admit that I liked Karin before we began to peck at one another’s work. She writes some of the best blogs this site has ever seen and her easy-going nature transcends the written word. For the most part, I require easy-going people—probably because I am not one of them. On the whole, we all get along at the Club, but have you ever wondered how the sub-friendships might divide? If we were all at a cocktail party, in what smaller circle would you find yourself? I bet you know the answer—it’s part of what makes this blog work so well and, I think, only human nature. So in deference to full disclosure, Karin and I had exchanged emails prior to our new writing relationship. To be honest, it was more like I’d bitch to her about some writing/publishing thing that had me perplexed, upset, or looking for the correct next step. (In fairness, several GBC writer pals have also been generous with their time and advice, and I would be remiss not to acknowledge that here) But last spring, at the tail end of an email, I offhandedly said to Karin, “Hey, if you ever want to trade chapters, give me shout.”      

I really didn’t expect a reply.
Let’s remember, Karin comes with an MFA and creative writing teaching credentials while I come with an unfiltered mouth and blunt reactions. But, perhaps, Karin was the type who responded to unfettered feedback. Who was I to judge? Besides, the greedy girl in me was tickled at the prospect of someone with real writing chops reading my WIP. We even had a serendipitous starting point. Karin and I were in the draft stages of new novels. It’s not my place to discuss her work, but I don’t think she’d mind if I tell you that it’s a captivating coming of age story, laced with a page-turning touch of romance. Karin’s transplanted gift for Southern gab and ritual gives the Minnesota-born author an uncommon take on a way of life that lesser authors would need to be raised on in order to write so succinctly and true. In turn, I handed over, chapter by chapter, the draft of my new novel, which is less about coming of age and more about coming to grips with an unexpected life. And when I say draft, I was literally eight chapters in when we signed on for our experiment in literary bartering.
Here are the highlights of what I learned : 
1. When sharing with a savvy author, the motivation to polish your work rises to an unprecedented level—even in a draft stage. 
2. Shrewder word choices and the desire to fine tune mediocre sentence structure is also wildly enhanced. 
3. I cut mercilessly passages and pretty needless phrases I might otherwise have let slide for months. 
4. I thought harder about why my characters did the things they did.  I made them answer to me before they were questioned by Karin. 
5. And when we got to a plot point that instinct said was a wrong turn, Karin echoed the same sentiment. I went back to the drawing board, doubtless that a surgical rewrite was the only remedy. 
In the end, I concluded that the experiment was a success. With the assistance of velvet-gloved but precise margin notes, I completed my new manuscript. From there I turned it over to my agent with a confidence that doesn’t come naturally to me. Is it perfect?  Don’t be absurd.  Is there room for improvement?  Without a doubt.  Still, I hit Send with the advantage of a trusted outsider’s point of view.
Of course, the question remains: “What, exactly, did Karin get out of the deal?” Story-wise, she’ll have to answer—though, if nothing else, I bet she hasn’t experienced such an amiable penpal courtship since the 8^th grade. It’s only been a few weeks, but at a lonely writer’s desk I already miss our back and forth banter—somebody who, for a time, was as invested in Aubrey and her ghosts as I was in Amy and her prolific journey. With the right writer on board, there’s way more than a better story to be gained from a sharp eye and friendly advice.       

And now, a P.S. in the name of shameless publicity:

Karin didn’t critique PERFECT TIMING, but she did offer a lovely blurb for my November 5^th release! Pop over to my website where you can read all the book blurbs (including sweet words from other GBC members) and the first chapter! Lauraspinella.net