Moolah, loot, do re mi

Last week I forgot to mention an excellent website on publishing children’s books: http://www.underdown.org/. It’s the website of Harold Underdown who wrote the Idiots’ Guide that I’ve praised several times.

This week we’re taking another detour into the world of publishing. Next week we’ll be back to writing.

On October 10, 2010, Jill wrote …I spotted you saying again about being able to become a full-time author. What exactly does it take to do that? Publishing a lot of books and having your name be well known? I guess I am just wondering because that has been my dream for a long time and I just don’t know how to go about doing that!

I’ll tell you my story and then talk about how writers get paid. I hope that those of you who have publishing experience will weigh in with more information and clarification. I know how my income works, but I’m not an agent and there are ins and outs that I’m unaware of. This is a huge subject, and I’ll only graze the surface.

When I quit my job, I had just turned fifty and Ella Enchanted, my first published book, had been out for six months but had not yet won the Newbery Honor. I was working for New York State government and had been for twenty-seven years. I was due to collect a small pension in five years, a pension that would have grown bigger if I’d stayed on. My husband and I met with a financial planner to see if we could make it through the hiatus. The planner thought we could, and while we were meeting, the mail arrived with an offer from my editor for a three-book contract for what became The Princess Tales. I decided to make the leap. Still, I’m security-conscious, and I was scared. A beloved friend, a free-lance technical writer as well as a writer of young-adult novels, promised to teach me technical writing if things didn’t work out. That gave me an added comfort level.

Two months after I quit, Ella Enchanted won the Newbery Honor, and I felt even more at ease. No matter what happened, income from Ella would supplement my pension.

People have given up their jobs to write with a lot less in the way of resources than I had. Obviously the decision depends on your responsibilities and your tolerance for uncertain income. All worked out well for me. Sometimes I wish I hadn’t stuck so long with my government job, which I loved at the beginning but enjoyed less later on. Even before I began to write I might have had a more interesting career if I’d taken more chances. Still I am that security-conscious person and in spite of the advantage of hindsight, I might not have acted differently.

That’s how I did it. Now here’s an overview of a book writer’s income today. The industry is changing quickly, so some of what I say may be different in a few years.

When an agent takes you on, you usually sign an agreement that spells out your relationship, particularly how to terminate your association and her percentage of your writing earnings. If you do separate later on, she will continue to receive that percentage on those books for which she negotiated the contract. If royalties go on for decades after termination, she’ll keep getting paid for decades. That’s the deal, standard across publishing. Even if you don’t sign an agreement and just move forward on a handshake (as I did), the rules still apply.

When a publisher buys your book (Hooray!), it doesn’t buy your words in every circumstance forever, unless the deal is a “work for hire.” More about that later. The publisher buys specific rights, maybe the right to publish the book in English around the world or only in North America. Which rights it buys are part of the contract negotiation. The rights that you retain you can sell elsewhere. Which rights you reserve often depend on your agent and her agency. If the agency has a foreign-rights division or a film division, for example, you may retain those rights so the agency can market them and you will get a higher percentage of the earnings. This seems like a definite benefit – but the publisher may be better than the agent at selling foreign rights, for instance, and more sales means more money. You never know; you just have to choose.

If the deal is a work for hire, the publisher does buy your words forever in all situations. You don’t own the copyright; the publisher does. Usually you get paid and that’s it. This is perfectly legal. It’s all spelled out in the contract.

That’s all I’m going to say about work-for-hire contracts because I have limited experience with them. My Never Land fairy books are a hybrid form of work for hire.

In other contracts, not work for hire, the first money you get is the advance, which may come in stages, a portion when you sign the contract, another when the editor accepts your revision, and the last on publication. The size of the advance varies widely. For a first book it may be only a few thousand dollars. In some circumstances there may be no advance, only royalties.

There may be a clause that says that if the book wins an award like the Newbery or the National Book Award you will get an additional advance.

The advance, alas, is not a gift. You have to earn it back out of your royalties, so onto royalties, which are the percentages you receive for the sale of each book. For Ella Enchanted my royalty for hardcover books sold “through ordinary channels of trade,” which means bookstores and online retailers, was 10% of the retail price on the first 20,000 copies sold and 12.5% on copies after that. For paperbacks it was 6% on the first 250,000 copies and 8% after that. There are other royalty rates for other situations, but the ones I just named are the biggies. Your percentages will improve as your career grows, but the publisher will always receive the lion’s share. (A mega writing star may be an exception. I have no idea what percentage J.K. Rowling commands.)

(I’m omitting e-books, because they’re in flux at the present.)

If you have an agent, the publisher sends your royalty check to her. She takes her cut and then passes the balance on to you. I believe standard agent rates are 15%, but some agents’ rates may be higher or lower.

Royalties are paid twice a year, usually in October and April, which means no weekly paycheck, and you won’t get anything until the publisher recovers your advance. Plus, you can’t anticipate how much the royalty check will be because you don’t know how sales are doing. Your editor may be willing to give you an idea of how your book is faring, but you won’t know numbers until the royalty statement arrives. Sales are affected by factors way out of an author’s control, like the economy or school and library budgets or demographics (there’s a population boom or bust in the age range your book is meant for).

Your U.S. book sale may not be your only source of income, however. There may be sales of subsidiary rights. If, for example, a book club wants to publish an edition of your book, you’ll split the revenue from that with your hardcover publisher. I don’t know how it works if your publisher has its own book club. If your agent sells an audio version, you’ll get an advance for it (probably smaller than the book advance) and royalties. Likewise for foreign sales.

If your book is optioned for a movie, you’ll be paid for the option, usually a small sum. If the movie is made, you’ll be paid a lot more, and you’ll probably have a very good year financially.

Your head is swimming. Your eyes are rolling back in their sockets. Basically, your book revenue comes twice a year plus advances, which aren’t tied to the calendar.

If your book does well online and in the book stores, those other sales (audio, foreign, book club, and more) are likely to follow. If not, generally not. It can be scary. But an editor who loves your writing will fight for your future books. A publisher that believes in you will stay with you for a few books even if sales are disappointing in hopes that your work will catch on.

Two more sources of income for kids’ book writers are speaking at conferences and visiting schools, both of which will pay you an honorarium. These are worth pursuing not only for the money, but also because they’ll boost your sales and build your readership. I haven’t done this, but I believe you can make proposals to some teacher-and-librarian conferences and to writers’ conferences for sessions on subjects you’re qualified to lecture about (topics concerning writing, books, teaching, literacy). When you start doing school visits you won’t be able to charge much, but as you gain experience you can raise your rate. For some authors speaking engagements, especially school visits, are the biggest source of their income. You have to be on the road a great deal, but, boy, you learn geography!

You don’t have to pay your literary agent any part of the honorarium, but if you use a booking agent, you’ll have to pay him a percentage. I don’t use one, so I don’t know what the going rate is. For beginners, I’d guess that a booking agent may be worthwhile, because he’ll know about speaking engagements that you won’t and he’ll send some your way. Your publisher will also have a school and library person who may be able to offer you some opportunities, and you don’t have to pay this person. If you’d like to visit schools and speak at conferences, be sure to let your editor know. Publishers are happy if you’re willing to get out to promote your books.

If your writing career goes very well, you’ll be able to tell when you’re ready to shift over to full-time writing. Many writers never can, and there’s no shame in writing part-time and supplementing other earnings with writing income. Luck plays a big part in success, and some terrific writers never get to write full time.

This may have been too much information. Here are two prompts:

• Your main character gets a big bump in her allowance. At first she thinks this is all good, but she doesn’t handle the new status quo well. Maybe she has a brother who hasn’t gotten any more. Maybe she now receives more than her friends. Maybe she suspects her parents’ motive for the increase. Or anything else. Make trouble. Write the scene.

• Two characters have gone trick or treating, separately or together, doesn’t matter. Doesn’t matter if they know each other. They each go home after collecting more goodies than ever before. Write a scene for each, showing how they deal with their candy wealth. Create internal and external conflict, different for each.

Have fun, and save what you write!

Serial Writing

On August 19, 2010, Yvonne wrote, Ms. Levine, do you have any advice on writing sequels, prequels, or writing books set in the same world as a previous one? I know you did this with Fairest, and I was wondering how you did it and kept the same characteristics of the kingdom that you had in the first book.

Actually, in Fairest, in one important regard, I failed. In Ella Enchanted, Char describes the people of Ayortha as taciturn. But when I wrote Fairest I couldn’t stay with that. I couldn’t write a semi-serious novel about people who barely speak. If Fairest had been one of my Princess Tales, which were mostly comic, I could have pulled it off. In an early draft of the book, I put in a sentence explaining how Ayorthaians were terse with strangers, but I think even that got cut. A reader once called me on this, and probably many other readers have noticed. It’s a fine example of an imperfection.

Maybe one rule of sequel and prequel writing would be not to put anything in the starter book that you can’t live with in future volumes. But I’m not sure. I don’t want to encourage timid writing, which would be worse than my Fairest mistake.

Seems to me there are two kinds of series. In one kind each book tells a complete story and the end is a full stop. Books can be read out of sequence and it doesn’t matter. In the other kind, the Harry Potter kind, each book has its own conflicts, but they’re part of a larger story that isn’t over until the final page of the last book, and the books should be read in order. I haven’t written this second kind of series, although my Fairy Haven and the Quest for the Wand is easier to get into if you’ve read Fairy Dust and the Quest for the Egg. I assume that writers who write a continuous series know the entire arc of the plot and where each book fits into it.

At the moment I’m writing a second mystery in the world of my heroine, Elodie. If I can, I’d like to stay with her and her dragon employer, Masteress Meenore, and her friend the ogre Count Jonty Um for a bunch of books. Each novel will be its own separate story (the first sort of series), but some life events for the main characters may evolve over time. Elodie and Jonty Um will get older. One or both of them may find love. There may be loss. Dragons age more slowly, and there’s something immutable about Meenore, so he’s unlikely to change much. Or maybe he will. I don’t know.

Some series have a villain who provides story continuity. I’ve read only the first Harry Potter book, but I figure Voldemort is that villain. In the Sherlock Holmes series Moriarty is the villain, but those books can be read in any order.

I’ve mentioned before that for each novel I keep a document called “Remember.” In it go the details, which vary somewhat from book to book. For the mystery series I’ve continued the same “Remember” from one book to the next. These are some of my categories: geography, monetary system, apprenticeship system, Elodie’s mother’s rules for her, character descriptions, the attributes of an acting troupe, the dragon diet. I could continue, but you get the idea. A “Remember” document will help you be consistent and will save time, because you won’t have to hunt through your earlier books for the particulars you need.

Before I wrote Fairest I reread Ella Enchanted. I’d like to say I took notes, but I don’t remember whether I did or not. I should have. So read and take notes. Originally I’d thought Ella’s best friend Areida could be the heroine of Fairest, but I was reminded that Areida is dark-skinned and the Snow White character, obviously, needed to be pale.

You may want a similar tone from book to book. If you’re writing an adventure series, you probably wouldn’t make one book a brooding character study with little action. My Princess Tales are humorous. Fun is the point. I couldn’t have written a tragic Princess Tale and made it fit. However, you might change point of view from book to book. You could have a series about a group of friends. If a different character told each book, the voice and tone would have to vary or each narrator would seem like the same person. But you still probably wouldn’t want one book to be completely lighthearted when the others were utterly serious.

I tied my Princess Tales loosely together with humor and with features that readers would recognize from one book to the next. All of them take place in the kingdom of Biddle and most in the town of Snettering-on-Snoakes. The king’s name is always Humphrey, and the queen is always Hermione, Humphrey I and Hermione I in the first book, higher numbers in each succeeding volume. The fairies are always seven feet tall with huge, fleshy wings. In this kind of series you may not need much more than a few recognizable features like these and a relatively consistent tone to unify the books.

You probably need to think about whether or not you want character growth from book to book. Since I haven’t read more than one but I don’t live in a cave, I gather that Harry and Hermione and the others change as the series progresses. In contrast, Sherlock Holmes doesn’t evolve. He’s the same brilliant, easily bored, self-destructive fellow all the way through. His failure to grow gives the series poignancy. The reader sympathizes with Holmes and worries about him. Both are valid choices.

Here are some questions you can ask yourself as you decide whether or not you want to attempt a series:

Do these characters interest you enough to want to be with them for more than one book? There is no dishonor in a no answer. The characters in my Princess Tales, because the stories are so light, are paper thin. They were invented for a single situation, and they wouldn’t know what to do with themselves outside their original tales.

Do you have a big and complicated enough idea to carry a bunch of books? At one point while I was writing Ever I thought I had a series on my hands, but I didn’t. My concept sewed itself together in a single volume.

Do you know what themes you’d like to explore from book to book? I’m optimistic about the mysteries as a series because I plan to rely on fairytales, and it’s always been the mysteries that have fascinated me about them. For example, one of my favorite blog postings along with your responses was about the puzzling “Twelve Dancing Princesses.”

Three prompts:

• It’s a cloud, composition unknown, threatening the world of your story. It can begin small or full-blown. Write a paragraph or two about each book in a four-book series that starts with the cloud. The cloud can be the problem for the entire series, or not.

• Describe (in writing) the most fascinating person you know. Now add interesting – not necessarily good – qualities of other people in your life. Imagine this amalgamated being as the main character of a series. What would challenge her? What kinds of conflicts would she get involved in? Write notes about a series with this main character.

• Write a page of back story for your current project. Make up new material for this, not what you already know. Consider whether you have a potential prequel. Write about what it might be.

Have fun and save what you write!

Tick Tock, the Publishing Clock

On August 18, 2010, Charlotte wrote, I was wondering if you could give us a breakdown on how long it takes you to write an average novel, from the inklings of an idea to the first draft to the printing to promotion, etc. What takes the longest? Do different books take significantly different amounts of time? Do you have deadlines? Have you ever tried NaNoWriMo?

I’ve never tried NaNoWriMo. I don’t think I could win, because I’m not focused enough in a first draft. If there were a NaNoRevMo for revision, I could do it. I can sit still for hours to revise.

How long it takes me to write a book depends on the book. Some are a lot easier than others. The longest (about eight years) was Dave at Night, but I didn’t work on it regularly (I wrote Ella Enchanted in the middle). The longest book that I worked on steadily was Fairest, because I couldn’t get the point of view right. Fairy Dust and the Quest for the Egg took about nine months, quick for me. Most of my Princess Tales took only a few months, the longest six, and the shortest, The Fairy’s Mistake, an amazing eight days! I was so happy! That one started life as a picture book, which was rejected by a zillion publishers. My editor for Ella liked it and asked me to turn it into a short novel and write two more – the beginning of the series. When I expanded it I already had the story and knew exactly what I was doing.

I don’t think the books that took the longest to write are the best, just the hardest. Some authors are much speedier than I am, and some are much slower. They’re not better or worse writers; their methods are just different.

My books germinate, naturally, in notes. I start by speculating about what I might like my next novel to be. Often I reread some fairy tales. I keep a running list of ideas for future books, and I revisit that. I write more notes about the ideas that interest me – where I could take each one, what might happen. I continue with notes and trying out ideas until something clamors to be written. Even then I’m not sure, though, and I write more notes, until a beginning emerges plus a vague notion of the direction of the story and some of the characters. Usually I have a sense of how the story should end, nothing specific, and nothing that can’t change.

I start writing. When I’ve written three pages, I always think, “I’ve written one percent;” at thirty pages, I think, “ten percent,” which is ridiculous because the book may wind up longer or shorter than three hundred pages and because I know I’m going to cut lots along the way and fill lots in. But the percentage thought encourages me.

Lately I’ve been trying to write straight through, but in the book I’m working on now, a second mystery (how I did this is itself a mystery), I wrote 150 pages without introducing any suspects. Naturally I had to go back.

Eventually I’ve got a first draft. Revising is usually quicker than writing the draft, a few months tops. Then I email the manuscript to my agent and my editor. That part is different for me than for writers who are just starting out or for writers who don’t have a book under contract (meaning that a publisher has committed to publishing the book). In that case, assuming you have an agent, you’d send the book to her, and she’d send it to editors she thinks would be right for it. But I’m not going to get into that unless you want me to in a future post.

A novel takes about a year from submission to publication. Now we get into publishing. I’m involved in some of what happens and have a rough idea of the rest, but I’m not an expert. For an expert, you might like to read Harold Underdown’s The Complete Idiot’s Guide to Publishing Children’s Books. There may be other great books on the subject, but this is the one I know. April, I think you know all about this, and you may want to add some remarks too.

So I submit the manuscript and start biting my nails immediately. After a day or two of no more nails without any word (a ridiculously short span of time), I’m sure my editor hates the book. But I’m not going to go into this either unless you ask me to, and then I will.

After a few weeks, Rosemary, my editor, sends me an editorial letter by snail mail along with the manuscript on which she’s written her initial edits. That’s how she and I work together. Some editors do a lot of the initial book discussion in a phone call or a meeting. An editor may not mark up the manuscript at all at this point; she may just suggest the direction the writer should take in the revision. I prefer to see edits. If Rosemary says my main character needs to be more likeable, I want to see the places where my main isn’t or I won’t get it.

When I’m finished with the revision I email it back. After she goes over it she sends me a blessedly shorter letter and her second edits. If things are looking pretty good after that round, she gives the manuscript to the copy editor. If it’s not yet in shape, there’s another cycle of revision between us before the book goes to the copy editor.

While all this is happening, internal publishing stuff has begun, and the internal side continues until publication. First of all is the decision about when the book will come out. Publishers have seasonal lists, meaning the cohort of books that will be released in summer, fall, and winter. There used to be a spring list, but now it’s called summer, at least at HarperCollins.

Deadlines are attached to the list decision, and this is unknown territory for me, except that if I were very late with a revision the book might have to be pushed back to the next list. I assume the deadlines have to do with when the manuscript goes to the copy editor and is returned, when the cover art is commissioned and finished, when the design decisions are made.

Back to me. The copy editor sends me the manuscript by email with e-edits in the margins and in the copy. I think the edits are in a Word program, but I don’t know. I print out the manuscript and write my responses in ink and mail them back the old-fashioned way. This is not because I’m a technology-challenged dinosaur – it’s just what I’m told to do. The copy editor and I go back and forth twice, I think, before the book emerges as galleys.

It becomes galleys after the decisions are made about type and the design of the page. Is the book typeset at that point? I don’t know. Once the book is in galley form, electronic editing is over. Changes are made on the physical page again.

The first iteration of the galleys is called first pass, which my editor sends to me, and I make my changes, and they’re incorporated into second-pass galleys. The book is in good shape by now, and many writers don’t look at second-pass galleys. But I do, because I’m a chronic fiddler. I don’t look at third pass, and I don’t know if there is a forth pass.

First-pass galleys are bound into the Advanced Reading Copy, the ARC. The ARC is a paperback book even though the real book will be released in hard cover. HarperCollins’s ARCs have the cover art, although not all publishers do this, I think. For A Tale of Two Castles, which will be out in May, the ARC has just been produced, and I got a copy in the mail last week. The cover art is also not the final version, but it’s close. I celebrate when the ARC arrives, because it’s the first time I’ve seen my manuscript in book form.

The ARC is a big marketing tool. It’s sent to reviewers and to important people in the world of children’s literature who can help the book. It’s sent out even though it still has mistakes, and readers are warned that some of the copy may change.

Other things happen behind the scenes. There’s a decision about the size of the print run (the number of books to be printed initially). A publicity and marketing plan are developed. The book is integrated into the programs that the publisher uses to market and promote every book. Editors present their books to the in-house sales force, the people who will sell it to independent and chain bookstores. Sometimes a book tour is organized.

Oh, and the book is printed! Then it’s sent to distributors, who receive the orders and fill them.

After all this – and I’ve probably left out a ton – it’s a wonder that the process takes only a year.

There isn’t really a prompt that goes with this, but I hate to end without one, so here are two:

• You all know that Ella Enchanted was my first published book after nine years of rejection for everything else I’d written. What you may not know is that Ella was the first book my editor ever acquired, which made it special for both of us. Write a first-person account of a fairly new editor meeting his or her first writer and taking him or her to lunch. My editor and I did get along, but make these two fail to. Make the lunch a disaster.

• Now indulge in a little fantasy. Write from the point of view of a newbie author meeting his or her editor for the first time. Make it go marvelously well. If you haven’t been published yet, make it a dream come true. This is one time you can indulge your Mary Sue and let her shine.

Have fun and save what you write!

To Be Or Not To Be Funny

First: CONGRATULATIONS to all you NaNoWriMo’s! Double kudos to those who met your goal. But whether you made it or not, the effort is a big deal. A lot of back patting is called for.

And I bet you’re relieved it’s over–and maybe feeling a little let-down, too . But, hey, there’s still all that revising to do. In recent posts I’ve gotten questions about revision, and I’ve referred people to my post on the topic from 11/18/09. If you have questions that I didn’t cover there, please ask.

Second: A reminder about my signings in Connecticut on Saturday, details on the website. If you’re in the area, I hope you come.

Third: With the glow of poetry school still hanging over me, I want to say something about how poetry affects my prose. Chiefly, it makes me more aware of the sound of my words as I write. For example, in the last sentence I happened to write the alliterative makes me more. (Alliteration: identical initial consonant sounds or double consonant sounds, like stay still. Write well isn’t alliterative, even though both words start with w’s, and cautious king is, even though one word starts with a c and the other with a k. It’s the sound that counts.) In the example, makes me more, I didn’t alliterate intentionally; it just came out that way, but I could have changed the wording to increased my awareness. Same meaning but not as appealing to me (in a very minor way).

Same thing with assonance, similar vowel sounds, like keep and sweet. Also words that happen to rhyme. I notice them more nowadays. Sometimes I add in alliteration or assonance, and sometimes I take it out. In prose, I often find it annoying when I accidentally rhyme, so I revise and remove.

Here’s a prompt: Pick a paragraph of your current story, any long paragraph, not dialogue. Underline the alliterations, the assonances, the rhymes. See if you can create more of each by changing words. Do you like the result better or less well? There’s no right or wrong answer. You decide. The advantage is just more consciousness as you write.

I also recommend reading poetry, because poetry is wonderful, and you can learn a lot about language from it. I get a daily poetry fix from Writers Almanac, http://writersalmanac.publicradio.org/. As a subscriber, a poem arrives in my email every morning, along with a short narrative of major historical events of the day. I click listen and read the poem along with Garrison Keillor’s resonant voice.

Now for today’s topic. On July 25, 2010, Rose wrote… How does a writer decide whether to make a story mainly funny or mainly serious? I’ve been writing a story that I saw as humorous, but it’s been getting very serious already, and I’m not sure if this is a bad thing. If so, can someone help? My tastes naturally tend towards the dramatic, though, so it’s probably just that. . .

Often the decision is made for the writer, who is either a writer of humor or of serious fiction. One or the other usually comes naturally, no decision involved.

Not that it’s necessarily so cut and dried as that. Serious drama can have funny moments, hysterical ones, even, and funny stories can turn temporarily dark or be uniformly dark and funny. Serious writers can pull off comedy occasionally, and humorists can write tragedy once in a while. But I think most writers know which camp they find themselves in.

I generally prefer funny. I’d rather read funny and write funny, and I think humor isn’t taken, er, seriously enough as literature. It’s just as hard, maybe harder, to write good light as to write good heavy. I frequently look for a bit of levity to add to my stories. Doing so just makes me happy.

Some of my books are more serious than others. Ever is the most somber book I’ve written, but even it has funny moments. And after I finished it I had to escape to something lighter. A Tale of Two Castles is lighthearted. The sequel I’m working on now is more serious, so I may cycle back and forth.

Of course subject matter helps determine whether or not a story is serious. I challenge the funniest person on earth to write a comedy about the abuse of dogs. If this is your subject, you probably have to be serious.

But even dire topics can be spoofed. Think of disaster movies. And, while dog abuse may be off limits, pet abuse probably isn’t. For example, you might write about a character who keeps pet cockroaches and isn’t nice to them. The reader wouldn’t know which side to sympathize with.

There are also topics that most lend themselves to comedy. One of my students once wrote a story about toe jam. Tragedy and toe jam do not mix, or do not mix easily.

And there are many topics that can go either way. Romance, friendship, coming of age all leap to mind.

Whichever you’ve chosen, you can nudge it temporarily in one direction or the other. Imagine even a hospital scene. Your main character’s mother has something terminal. A clueless doctor comes in and says all the wrong things, maybe putting a weird spin on a conversation that was just taking place. The dying continues, but the characters have laughed and the reader has smiled. Or you can make the scene funny by going overboard with the sadness, intense lugubriousness, so over the top that the characters notice and the tragedy lifts for a moment.

Comedy can tip into drama too. Suppose Essie has given her best friend Riva a joke gift of hand puppets. They’re in Riva’s bedroom, acting out the behavior of a tyrannical teacher, having a fine time, being clever and funny until Riva has the teacher puppet say something hurtful to Essie that Riva has wanted to say. The remark goes back to an old incident that’s been festering. In a single line of dialogue the story’s mood shifts. It may shift back just as quickly in a page or two, but for the moment the reader has stopped laughing.

Even when stories stay funny they can have serious meaning. Think of Mark Twain, one of my favorites. His Connecticut Yankee in King Arthur’s Court, for instance, is wonderfully humorous and touching at the same time. Think of Jane Austen, one of the funniest writers ever, in my opinion, who was writing not only about finding love, but also about finding a life. Think of your own examples.

Here’s a prompt: Write about a camping trip. Can be a family trip, a scout troupe, a gathering of elves, whatever. In as many pages as you need, take it from humor to drama, back to humor, back to drama. End on whichever you like. Do the same for a bank robbery. Now do it – aaa! – for an airplane crash. Don’t worry about being ridiculous. Go for it!

Have fun and save what you write!

Forced

I had a terrific time in poetry school. I heard lectures about odes and elegies and the use of time through verb tenses in a poem and much more. The five poems I submitted ahead of time got careful criticism, and I learned a lot. Thanks to everyone for keeping the blog humming in the meanwhile.

On July 24, 2010, Lauren wrote, I was rereading part of one of the stories I’m writing, and I just realized how forced the writing sounds. How can I change it? Should I completely re-write it, or just change bits and pieces? How can you edit your work without getting totally discouraged and wanting to give up?

I asked for clarification, and Lauren gave it the next day: I mean when the writing sounds fake. Kind of like what you wrote in that one chapter in WRITING MAGIC, where you gave two kinds of dialogue involving a couple of girls and weird smells one of them thought was coming from the science lab, but was actually smoke? One was very formal and didn’t sound like two tween/teenaged girls, and the other one did.

Sometimes I want to give up too. Usually this happens to me in the first-draft stage. I love to revise. By the time I get to revision the major plot kinks have been ironed out and all I have to do is to make my prose shine. Truth is, it’s fine and possibly even universal to want to give up but not fine to actually do so. If you stick with your revision, your story is likely to improve. If it doesn’t, you can start a new story, but I hope you won’t stop writing entirely.

I’m glad you’ve read Writing Magic!

Your dialogue problem may have come about because you’re putting information into speech that belongs in narration. Dialogue is likely to feel forced when it passes along facts that both speakers know – simply in order to bring the reader up to speed. If, in the example from Writing Magic, both characters are already aware of the smoke that issued from the science lab, they’ll be unlikely to talk about it.

Dialogue seems to be a lively way to introduce back story, but it’s not, in my opinion. Usually such conversations come off as stiff. Much better to tell the reader directly in narration. If you’re writing in third person, you can merely say that a science experiment has gone bad. If in first, your main character can notice the lingering smell of burnt rubber or whatever.

I can imagine circumstances when it might be appropriate to rehash known events. Suppose your main character Penny suspects something fishy went on in the science lab but she doesn’t have all the facts and she wants to find out. Maybe she’s an amateur sleuth. Then she would have a reason to bring up the accident, and, if she’s not experienced at sleuthing, she might do so awkwardly. As the conversation gets going she might reflect on how stilted she sounds. The reader will be content, because he’ll worry about whether she can pull off her subterfuge and because there may be real danger.

Or maybe Penny wants to establish a relationship with someone, so she brings up the science lab because it’s all she can think of. The reader will be okay with this too and will probably suffer along with Penny as her overtures proceed. Will she be accepted or rejected?

It comes down to why people talk.

Obviously not all talk in real life is fascinating. Much of it isn’t, but the motivation for speech often is, and sometimes the motive is more meaningful than the words. When a character, Warren, say, makes chitchat because he’s nervous, what comes out may be drivel, may even be forced-sounding drivel, but if the reader understands what’s going on, she won’t mind. She’ll be squirming along with him; the worse it is, the more she’ll squirm.

Or let’s say Warren is trying to find his sister who’s gone missing. He’s made contact with a woman who may be able to lead him to her. They meet for the first time outside a particular bank branch. She’s said he’ll recognize her, and indeed he thinks he does. There’s a woman at the revolving doors wearing a wide-brimmed red hat, a red wool coat tied at the waist, and high black boots. Her face is beautiful, her expression bored. He goes to her, and, scared, spouts the same nonsense as in the example above. The reader can’t turn the pages fast enough.

Not that Warren has to do it this way. He can master his fear and ask the woman straight out if she’s the right person and if she knows where his sister is. That’s fine. It depends on Warren’s character and the tone of the story. The direct dialogue will still engage the reader if she cares about Warren and his sister. One way is no better than another.

There are myriad reasons for characters to speak – anger, fear, warning, affection, love, for fun, to convey news, and more I’m sure – and myriad ways for them to express themselves, as many ways, I guess, as there are characters.

Some people and some characters are more comfortable talking than others; some are more comfortable being quiet. Here’s a prompt: Tomorrow, notice whenever you talk and when you’re silent in company. Pay attention to what prompts your speech and what shuts you up. At night write about what you discovered. Write whatever you remember of actual conversations. On Friday, observe the speech of others. Write about those discoveries too. If you’re feeling inspired, use what you found out in a new story.

Lauren also asked whether she should rewrite only the parts that are problematic or start from scratch. There’s a middle ground. Don’t scrap your entire effort, but do go through all of it. The seeds of the forced writing may start before the trouble begins, and if you fix the earlier part, the rest may fall into place. Revision is a big job. Bette Davis once said that old age isn’t for sissies, and neither is revision (or writing). It’s hard, and we have to push through all our writing frailties. Above all, we need to be thorough. If any place feels off, try other ways to express what you’re getting at, either in notes or in your story itself, but don’t delete your earlier versions.

Occasionally, tragedy strikes and you lose your entire story. If this happens and you start over, sometimes a little miracle occurs. You remember the plot, and it comes out more smoothly. Your subconscious or some good angel has taken over and fixed things, maybe to comfort you for your loss.

Let’s use that angel in a prompt. Think of a part of something you’re working on that you’re not satisfied with. Don’t look at it. Rewrite from memory. Don’t strain to make it better, just write.

Here’s another dialogue prompt: Your main character, Yona, is at her cousin Ivan’s birthday party where she doesn’t want to be. Her mother has threatened dire punishment if she isn’t nice. Ivan is annoying but not evil. This is not Yona’s finest or kindest moment. In dialogue Yona gets revenge on Ivan for existing and having a birthday, but she does it so subtly that he only knows that he feels worse and worse. Yona believes she’s said nothing that will get her in trouble. Write the dialogue.

And another: Your hero, Kyle, needs information that a particular dragon can provide. Unfortunately, the dragon speaks only in riddles. Write Kyle’s attempts to discover what he needs to know.

Have fun and save what you write!

Truth and Mommy and Daddy

Next week I’ll be in poetry school. Honest! I’ll be a non-MFA candidate in a poetry MFA program, sort of a guest, but I’ll be doing almost everything everyone else does. I don’t know if I’ll have time to post to the blog. If not, I’ll be back the following week, so please don’t desert me for another writing blog!

I’m going to answer two questions today, because I don’t have enough to say about either for a full post.

First, on May 26, 2010, F wrote, I always assumed most of the things I read in books – about a certain machine, or a process – are true, unless it’s obvious they can’t be. Do you think books have a duty to be correct in the facts they present?

F’s question followed my post of that day called “Fantastical Research,” and you may want to refer back to that post before or after you read this one.

I certainly think nonfiction has a duty to be accurate. Absolutely. Period. Of course, writers make mistakes, and even fact-checkers make mistakes, and I don’t think a jail sentence is warranted for a mistake. Still, errors in nonfiction are unfortunate. The lay reader is not going to be able to tell and will be left with an incorrect idea of the subject.

But, F, if you’re asking about fiction, I’m not sure. I also tend to believe the technical stuff in books. I used to enjoy Dick Francis’s mysteries more for the horse and racing information than for the mysteries. Same for Tony Hillerman’s mysteries, which offer insights into Native American life. Neither of them may have been strictly accurate, and who am I to know?

For as long as it lasted, I delighted in the television series, Boston Legal (adult content), but I often doubted that real-life lawyers would behave in court the way these crazy attorneys did. I’d say to my husband (also not a lawyer), “Can they do that?” If I asked the question, part of me did believe and part didn’t.

When I wrote my historical novel, Dave at Night, I tried to get my facts right, which involved extensive research, and so far no one has brought any errors to my attention. I used fictional stand-ins for real people and gave these stand-ins names similar to the actual monikers. For example, I changed the name of the heiress A’lelia Walker to Odelia Packer. Then I felt free to make Odelia say the words I gave her, whereas I never would have invented dialogue for A’lelia Walker. Also, I made up the orphanage and called it by a different name from the real orphanage my father grew up in. However, if I’d written a nonfiction history of an orphan living on the outskirts of Harlem in the 1920s, my research would have been more exhaustive.

The heroine of Ever is a talented weaver. Lucky for me, my copy editor knew something about weaving and advised me that I hadn’t gotten the details right. I had to go back and become more informed, because she definitely believed I had a duty to truth. However, I had another alternative: I might have tipped the reader off that this was a different kind of weaving, Hyte weaving, unlike any other sort. Then I could have launched into anything: looms shaped like ice cream cones, Hyte hyena-sheep whose wool is barbed and holds together on contact. The reader would understand that he wouldn’t find a rug woven in Hyte fashion in his local carpet store.

One way to clue the reader in that what’s coming is fanciful is to exaggerate, so here’s a prompt: Your main character is a carpenter who is building a cabinet for a king. Whenever His Majesty opens a drawer he will find something useful for his rule. When no one is looking, the shelves will refill themselves with new items relating to his realm. Show the carpenter going about her work. Invent the tools she uses to create the cabinet and to infuse it with magic.

Second question. On July 22, 2010, Rose wrote, What about the portrayal of parents in kids and YA lit today? I’ve read some about it on other blogs and . . . is it really necessary for the plot to have parents that aren’t there or don’t care? Just wondering what people think about this.

Dead parents are everywhere in children’s books. To name just a few: Oliver Twist, Anne of Anne of Green Gables, and Harry Potter are all orphans. My Dave in Dave at Night is one. Ella from Ella Enchanted and Addie and Meryl from The Two Princesses of Bamarre all have dead mothers and useless fathers. Aza in Fairest was abandoned by her parents.

In The Wish, Wilma’s parents are divorced. Her mother is fine and caring, but she isn’t there when the trouble happens. Which is the idea. Get the parents out of the way so the children can take center stage.

Remember the deus ex machina (god of the machine) of Greek theater? If you don’t, in Greek tragedy, a crane would lower an actor portraying a god onto the stage to save the characters from an impossible situation. Nowadays, we don’t want parents to be the deus ex machina. In traditional fairy tales the fairy is often the deus ex machina, and in contemporary revamps we don’t let the fairy fix everything either.

Sometimes the parents are the problem or part of it. In Joan Abelove’s Saying It Out Loud (middle school and up), Mindy’s mother has a brain tumor and her father is clueless about how to support his daughter through this crisis. Something similar happens in Karen Hesse’s Newbery winner Out of the Dust after Billie Jo’s mother dies. In The Birthday Room by Kevin Henkes, even though the parents are terrific, they give their son a gift that sets off the book’s major conflict.

A friend wrote a thesis about how mothers have been vilified (vilify, a great word – look it up if you need to) in children’s literature, which made me think guiltily of the stepmother in Dave at Night. When my pal discussed her paper with me I was writing Ever, and I was about to make Kezi’s mother the major villain. After we talked, I decided to go another way. So the parents do not have to be dead or uncaring; they just mustn’t solve the main character’s problems.

In fairy tales the mother is sometimes the chief baddie. Think of the mothers in “Hansel and Gretel” and “Toads and Diamonds” or the evil stepmother in “Cinderella.” (Sisters often don’t fare much better than mothers. Consider the sisters in “Beauty and the Beast” and “East of the Sun and West of the Moon.”) Here’s a prompt along these lines: Write a version of a bad-mother fairy tale in which the mother is actually terrific, but the heroine still has to endure the same sort of troubles she goes through in the original tale. A fascinating example of this is Donna Jo Napoli’s take on “Rapunzel” in her novel, Zel.

Have fun, and save what you write!

Curtain up!

First of all, big news: my very first ever published poems for adults have just come out in the fall issue (#68) of The Louisville Review, two whole entire poems. I’ve never had any interest in writing fiction for adults, but poetry is another matter.

By the way, The Louisville Review has a “Children’s Corner” for poetry by kids from kindergarten through twelfth grade. Follow this link for submissions information: http://www.spalding.edu/louisvillereview/submission.htm#cc.

And a reminder that I’ll be signing on Friday in Fort Thomas, Kentucky. Details on the website.

Now here we go!

On July 7, 2010, Silver the Wanderer wrote, I’ve heard that the first five pages are the most important in a story, since that’s the part agents/editors/readers see first. But, of course, that’s the part I seem to be having trouble with. I’ve rewritten my beginning once already, and I think I’m going to have to do it again. My beginning just doesn’t seem engaging enough, and I can’t think of a good alternative. I need to introduce the setting, characters, and just enough back-story to leave the reader intrigued – but I can’t figure out the best way to do it. My writing is fine later on into Chapter 1, but the first five pages are really giving me a hard time.

Do you have any advice for writing beginnings?

First off, I’m hoping this is an apt post for you NaNoWriMo’s out there who are probably all about beginnings right now. Or maybe your beginning is already three chapter behind you. My hat and every other piece of apparel that can be doffed is off to you.

Regarding those “agents/editors/readers,” if the writing slides downhill on page six rather than page five, that’s where they’ll stop, especially the agents and editors. Besides, I don’t think they’re the ones to worry about. You can’t predict what they’re looking for – is it historical fiction or graphic novels or werewolves? – and if the person who picks up your manuscript is feeling grouchy or rushed or any other of a thousand things, you may be a modern Jane Austen and he’ll still send you one of those horrible form rejection letters.

But of course you’re right about needing to grab the reader fast. Some of you – probably many of you, since you’re book lovers – are forgiving readers. You give a book a chance to hook you. You may stick it out for twenty pages, fifty pages. I suspect some of you never abandon a book. Don’t write your beginnings for readers like you. Write them for reluctant readers who have to be persuaded to hang in.

I included two chapters on the subject of beginnings in Writing Magic, which you may also want to look at.

My worst beginnings nightmare was in The Two Princesses of Bamarre. I needed to start the story and also to introduce an epic poem that runs through the book, but the epic poem has a different story line from the main one. I rewrote the beginning umpteen times. It took me so long to figure out that the book went into bound galleys with a messed-up beginning, which hurt it in reviews.

I just compared the two beginnings. In the bound galleys, I started with a fragment of the poem and gave a little of the poem’s back story before moving into the tale of the novel. In the published edition I also began with the poem but then started the primary tale immediately. The difference is just a few deleted sentences, yet one version is smooth, the other bumpy. And although the change was slight, it took me weeks and quite a few intermediate attempts to get there.

So here are two beginnings suggestions. The first is to trim down to the essentials. Be ruthless with every word, phrase, and sentence.

The second suggestion is to delay the back story. Involve the reader in the front story first. Depending on what you’re writing you may need to introduce the back story quickly, maybe in the first page even, but not in the first couple of paragraphs.

This is formulaic, and if you find another way that works, certainly go for it. But in general, at the beginning, if you can, do only one thing. Think of a hypnotist (which is what an author is, in a way). She’s wagging the watch on its chain in front of her subject’s eyes, a single watch, never more than one or the trance won’t take hold.

The easiest element to start with is probably action. If you throw your characters right into a rush of events, your reader is likely to dive in too. For example, suppose you begin, He shuffled toward me. The reader will instantly want to know who he is and who me is and what the shuffling means – not that you have to explain right away.

But you can start with any facet of storytelling: setting, dialogue, thoughts, feelings, action. This suggests a prompt. (If you’re in NaNoWriMo, don’t try it right now. Wait till December.) The prompt comes from a similar prompt in a book I’ve mentioned before, What If (middle school and above), which is full of writing exercises. Write beginnings that feature each of the elements I just listed, a different beginning for each. For example, a setting beginning might start, How bland the house looked with its tan siding, white shutters, worn welcome mat. How little it gave away.

When you do this, don’t concern yourself with the story that might follow. You’re only exploring beginnings, and you’ll be most free to do that if you don’t have to think ahead.

In my example it’s the second sentence that gets the reader interested. If I’d omitted that and continued on to other bland house attributes, the reader might wonder if he’d wandered into a real estate listing. But if I went on to describe the cheery kitchen and remarked that all evidence had been erased of the day when big sister Barbara added talcum powder to the cake batter, the reader would likely sit down at the table ready to be dished more story.

So the third suggestion is to give the reader a tidbit to worry about. Maybe worry is too strong. Engage may be a better word. In Writing Magic I propose that the reader look at the beginnings of her favorite books, and I propose it again. See how quickly you were grabbed. Examine how the author did it.

At one point in flailing about for a beginning to Two Princesses, I jumped in too deep right away. I don’t want to give the story away, but I began the major crisis on the first page. The reader was too seized, too anxious to endure any of the regular stuff of establishing characters, setting, the world of the story. There are additional dangers in launching at the most critical moment: either everything that follows feels like a let-down or the story has to be cranked up to hysterical heights, and too much hysteria leads to sameness and emotion fatigue. So the fourth suggestion is to start small.

It’s nice when you can make the initial predicament be the same sort of trouble that propels the entire book. If your main character’s major problem, for example, is not fitting in, you might start with an instance of his outsider status. Other kinds of trouble can come along later, but it’s cool, in my opinion, to set out with the underlying issue. Not always possible, but cool.

Sometimes the perfect beginning comes to me right off. It did in Ella Enchanted and The Wish, and that was a gift. Usually I have to revise to get it right, which may not occur in my second draft or, as was true for Two Princesses, my twentieth. And you can’t be absolutely certain of your beginning until the first draft is finished – because you may not know what your beginning needs to do or be until you get to the end.

Here’s another prompt: Think of a story you know well, maybe a fairy tale or a myth, but not a book whose written beginning is lodged in your memory. Or you can think of a well-known character, like Sherlock Holmes, or even a historic figure, like Houdini, whom you can fictionalize. Write three beginnings to go with the tale or the character. For example, you might choose “Jack and the Beanstalk.” Write at least two pages for each one. If you like, pick one and keep going.

Have fun, and save what you write!

Making bitter sweet

Before I start, I want to point out the new link to the right, which will take you to my husband’s website for his beautiful photographs. If you need a break, it may be just the thing. In the galleries you’ll see photos on many subjects. The blog takes you through fall (so far) in southern upstate New York.

On June 30, 2010, Bearcoon wrote, How do you make rather dark characters still come across likable? I have several characters that have had a hard time previously in life and because of this are really bitter at everything, but I’d hoped people would at least sympathize with them. So far, no one really has. Are there any tips to making a lovable cynic?

Yesterday morning I took the train into New York City. I was meditating and snoozing when someone sat next to me. Her coworker took the seat behind her, and they talked. I drifted in and out of sleep and eavesdropped. The two were supervisors. My seat-mate went on about the flaws of each of her subordinates, detailing how she set them straight. I thanked my lucky stars she wasn’t my supervisor. When I opened my eyes I saw that she was young, pretty, perfectly attired for business. I hated her – in an impermanent way. I don’t wish her ill, but I really wish the people who work for her very well.

I’m being unfair, I’m sure. She may have been absolutely right in the way she handled each situation. She may also volunteer at a local hospital, take in injured pigeons, give half her salary to disaster assistance. And she may have to be perfect because a parent criticized her mercilessly when she was little. I still took no pleasure in her company.

This may be the crux of the problem. The bitter characters may not be fun to be around on the page. Even if the reader understands, for example, that Sean’s father beat him with a belt whenever he didn’t finish his string beans, if he whines on the page, the reader may have little sympathy. In fact, knowing about the beatings may make matters worse, because the reader may feel guilty for disliking Sean and may like him even less as a result, and may go so far as to put down the story he’s in.

When I was a young woman I knew a villain, a real life villain, who had no one’s best interest at heart but his own. It took me a while to figure this out, but thanks to my husband I escaped relatively unscathed. This guy probably had an awful childhood, although I know nothing about it. But, oh my, he was fun – funny, original. A conversation with him was always fascinating. When he wanted to, he could make me feel as brilliant as he was, and when he wanted, he could make me feel as dumb as a termite. He would make a great character on the page. The reader would enjoy being in his company even while recognizing his villainy.

So the first strategy would be to make your dark characters fun on the page. Bitterness can be expressed with humor, and humor is usually appealing. Self-awareness too. The cynic who knows she’s being unreasonable and says so often wins the reader’s forgiveness.

In The Two Princesses of Bamarre, the dragon Vollys is evil. She intends to kill the main character Addie, who is in her clutches. The reader knows this and still loves her, possibly because he understands she’s desperately lonely. Her tragedy is that she always annihilates the people she loves. She traps them, comes to adore them, then has to spend every minute in their company until they start to drive her crazy. Then she murders them and misses them instantly and mourns them eternally.

One reason the reader cares for Vollys is because she appreciates Addie, whom the reader identifies with. It’s as if Vollys loves the reader. It’s hard to dislike someone who loves you.

So that’s a second strategy. If your bitter character hates the world with one exception, your main, the reader will discount the world and be content.

Vollys is also expert at showing her side of things. Dragons and humans have battled for centuries. She reveals the dragon side of the conflict. In the way she tells it the reader has to sympathize. A human hero stabbed Vollys’s mother, and Vollys recites a moving poem about her death. Another strategy: show events from the bitter character’s perspective. In an old horror movie, Repulsion (definitely adult, and only for adults who like to be scared witless), the heroine is also the villain. She’s going mad and strikes out when she thinks she’s being threatened. The threats are imagined, but the viewer sees them too. She’s impossible to hate because we know she acts out of insane self-defense.

In my books about the fairies of Neverland, the fairy Vidia cares only about flying fast. She’s nasty and self-centered, but she’s funny, and occasionally the reader glimpses a better self. Those glimpses are enough to make her sympathetic. So, allow your bitter character an occasional moment of innocence.

Even a whiny, annoying character will be tolerated by the reader if your main character loves him. Let’s imagine that your main, Thea, babysits a troubled nine-year old, Ricky, who is in a terrible mood when the reader meets him. He torments Thea because he knows how to push her buttons. She may be mad at him, but she still loves him, and in her thoughts she tells the reader why. It could go something like this: Thea sat back in the couch, stunned. When she’d told Ricky about feeling stupid she never thought he’d use the information against her. From his triumphant face she saw he’d been saving it up. Then he ducked his head as if he expected her to strike him. She saw the curls at the nape of his neck and his tee shirt label sticking out. Her fury melted. The bonus here is that the reader winds up even more pro-Thea than before. You can try this.

Along the same lines – and this is one more strategy – a narrator’s affection for a character can make the reader like him. This is from Peter Pan by James M. Barrie, a few pages after Captain Hook has wantonly killed one of his own pirates: Hook heaved a heavy sigh; and I know not why it was, perhaps it was because of the soft beauty of the evening, but there came over him a desire to confide to his faithful bo’sun the story of his life. Later on, Peter fools Hook into thinking he’s a codfish. Who can hate such a silly man?

Consider fictional characters you know who are mixed blessings but beloved anyway. Think about how the author has reconciled you to them. Go back to the books and examine how it was done, the sentences and incidents that created the effect.

Possibly the best thing about this blog is the sharing. If you have ideas about making difficult characters likable, please chime in.

Here’s a prompt: Hazel has had an unhappy life–abuse, neglect; the few good people in her life have been lost to her. She began to form a connection with one of her teachers, but he just humiliated her in front of her classmates. In her journal (her only friend) she plots revenge. Write the journal entry, and make the reader like her.

Have fun, and save what you write!

Groupies

This will be the last post in The Criticism Series unless anyone has follow-up questions. Grace wrote that she and her writing buddy are starting a critique group, and then she asked, I’ve never really critiqued anyone’s writing before, I’ve only had people critique mine. Since I’m going to critique group next week, does anyone have any idea how to provide good, honest critique?
Many of you reading this probably have critique group experience, and I hope you’ll share your thoughts.

Every group is different. Some meet only online. Some are small, three or four writers. Some are big, with a floating membership; different people show up from meeting to meeting. Groups meet weekly, biweekly, monthly, or as needed.

Some are highly structured. Maybe only three writers present work at each meeting and presenting rotates. The time spent on each piece is limited and monitored. There may be a group leader. There may be a page limit of, say, ten pages.

Others are more free-wheeling: discussion can last as long as it lasts; as many people can present as have work; no length limit.

Or anything in between.

Some groups email work to one another before getting together. I prefer this. My first reaction to something isn’t always trustworthy. I like to sit with a piece for a while.

In some groups, the piece is read aloud, usually not by its author, because problems tend to jump out when you hear your work, and, if a reader stumbles, there may be a wording problem at that spot.

Whether you receive material ahead of time or not, it’s important to have a copy for everyone at the meeting to follow along with the reader. Otherwise the words go by too fast, and people miss thingsh or may mishear.

Writers have different expectations from critique groups. I tend to line edit everything I read, and I welcome line edits from others, but some critique members don’t want that; they want to hear about only the major plot and character issues (which I address as well when I see them). One time, I joined a critique group and plowed in with all my tiny edits only to have the other members look at me in shock and dismay. Best to discuss this in advance.

(What is a line edit? It’s the little things like word repetition, sentence sameness, uncertainty about who’s speaking, and so on.)

Before you join a group, it’s worth considering what you’d like to get out of it. Do you want line edits or just big-picture criticism? Are you okay with sharing parts of your manuscript, or do you want a group that is willing to look at the entire thing? Would you be willing to put in the time to go over someone else’s three hundred pages? Do you even have that kind of time?

If there isn’t much to choose from in your area, you may have to take what you can get, but it still makes sense to think about. Once you’re in a group you may be able to move it in the direction you prefer.

Okay. Let’s assume you’re in Grace’s enviable situation. You’ve just formed a critique group. How do you “provide good, honest critique?”

If you receive the work ahead of time, read it over twice with some time between readings if possible. I suggest you mark it up in pencil (not red), so you can change your mind. When I go over something, I usually write my line edits on the manuscript. If I think something should be deleted, I put parentheses around it. I never strike through someone’s words, because that feels like an assault to me. And all my comments are just suggestions.

For broad issues, I keep a separate list, generally a short list. Big comments might be that a certain character isn’t likable (and then I show the places that led me to this conclusion) or that I don’t believe a particular character would behave as portrayed.

I just went back to my post from last November 18th on revision, and I suggest you revisit it too, because much of what applies to revising your own writing, applies to editing the writing of others. In your critiques you can go into all the elements that I listed then, including plot, character, setting, voice, detail.

Possibly the most important and useful thing to watch for in a manuscript is your own confusion. Did you fail to understand something? If you did, it is likely not your fault. Something is probably missing, or something has misled you in a way that the author didn’t intend. Pointing out the place of your confusion is likely to be helpful to your critique buddy.

Your very valuable quality, maybe the most valuable, is that you are a good reader. You’ve read lots of books; you know what you like and what irritates you, and you bring that background to your critiquing.

Of course you should say what you like before launching into the problems. Every editorial letter I’ve ever gotten has begun with the good stuff. There have been a few times, however, when I haven’t liked anything, and then I don’t say that, but I jump right into the criticism. That is what we’re there for. In those instances, however, I may not point out every little thing that bothered me. The small stuff can wait until the major problems have been fixed.

Don’t be the critique member who says nothing. Push yourself. You can be silent for a few meetings, but after that, try to speak up. If you don’t, other members may conclude you’re there only to receive feedback and not to give any, even though the truth may be simple shyness or lack of confidence.

I was in a certain critique group for years. We all knew each other. Most of us had become friends. We’d shared many pieces of writing. And yet, whenever it was my turn to receive criticism, I was scared. Every single time! For years! Sometimes I went first, but I never wanted to. I always wanted to ease into it. Then, all I really wanted to hear was that every word I’d written was a marvel. But once we got into my story and people started giving their helpful comments, after a few minutes, I calmed down and my blood pressure returned to normal and I appreciated what was coming my way.

Some of you have written that you don’t like to show your work until it’s as good as you can make it. That’s fine if – if you don’t get locked in an endless cycle of revision that keeps you from going on to new writing and if you are ever satisfied enough to expose your work to helpful eyes.

The wonderful thing about criticism, the part that makes even the rare hurt worthwhile, is that you get a fresh perspective. Your critiquers will see your words in ways that will surprise you. They’ll find themes and ideas and, naturally, problems that you were blind to. But you’ll never be completely blind again. You may repeat your mistakes, but you’ll be broadened, and you’ll begin not to repeat. The smallest thing, even a suggested word choice that is outside your range will expand you.

Some of what makes us writers is our curiosity about people. When you’re part of a critique group and you read other writers’ halting efforts, you change perspective. It’s a different kind of intimacy from a friendship, although friendships can develop, but there will also be this, an understanding that only writers have, or maybe that only artists have.

Hooray for critique groups!

Here’s a prompt: Three critique buddies are meeting. Write their session, and in the course of it, give glimpses of the manuscripts, which both reveal and disguise aspects of their authors’ lives. Follow the members after the critique session as they reenter their situations.

Have fun and save what you write!

Help wanted

A bunch of questions followed my September 29th post about accepting writing criticism. Chantal wrote, I’m running into the problem of who to give my novel to for reading. I know I need some outside opinions before it’s complete, but I’m wary about just handing out my novel to everyone who offers, even if I do know them. Do you have any advice?

And Erin Edwards offered these excellent suggestions: A good question to ask a prospective and willing reader is what kind of books they like to read. Ask if they like books that you think are similar to yours in genre, tone, and/or age group, etc.

Writing requires enormous patience, as we all know. Finding the right critics sometimes calls for patience too. It’s like moving to a new town or a new school. For a while you try out friends before you find ones who suit. Of the people who’ve offered to read your novel, you may just have to guess about who is best equipped for the task. If your first readers don’t work out, try other people. You may be surprised at who can help you.

Going through someone else’s novel is a big job. If your reader isn’t experienced at criticism, he may not realize the complexity of the undertaking and may not be able to finish. I don’t think you should be angry at such a failure or think that it reflects badly on either the person or your book. Just give it to someone else.

You may need to have a discussion ahead of time with the person or people. What does he think is involved? Has he ever done this before? What would you like to know from him? How specific would you like him to be? How fragile are you when it comes to your writing? You probably don’t want to give away much about your book, because you don’t want to influence the reading. Of course, if you’ve written a novel in experimental literature and the sentences don’t have ordinary meaning, you should prepare him, but if you’ve written a coming of age novel, for example, you needed say that, and if you think it falls apart from Chapter Fifteen to Chapter Eighteen, don’t mention this. You want to see if your reader has that response too without being told ahead of time. Naturally, you can ask afterward.

Also, you can start small and give your reader a chapter and see how that goes. If all is well, you can give her the whole book.

When I was starting out I had the advantage of living in New York City where one can hardly step outside without tripping over a writer. I formed critique groups with writing class members and members of the Society of Children’s Book Writers and Illustrators (SCBWI). The groups kept falling apart, and I kept forming new ones. A couple of years passed before I found a group that stayed together for a few years until it, too, disintegrated. But for a while I was blessed. Most of us were writing novels so we tolerated lots of pages from one another.

Even if you don’t live in a city, you can benefit from SCBWI, if you’re old enough to join (eighteen and up). Your regional chapter will help you find or form a critique group.

If you’re under eighteen, you might see if a librarian or an English or Creative Writing teacher would look at your work. The first readers of my very first book were two children’s librarians, who happened not to be great at criticism but who were fabulous at encouragement. You also might join your school newspaper or literary magazine to find other writers.

A few days ago I listened to a radio program about frenemies. I suggest you not give your book to a frenemy.

At the time I wrote that very first book, I lived on the same street as a published children’s book writer. I hardly knew her, but I prevailed upon her to read my effort – I didn’t realize what an imposition that was. When she gave the book back to me, she said, “You’re not a writer.” Curiously I wasn’t devastated. She did think one little bit in the book was funny, and she asked why I wanted to write when I could draw; there were my pencil drawings of birds in the book. I discovered that she would much rather have been an illustrator than a writer, and somehow that took the sting out of her words.

If you can afford it, there are free-lance editors you can pay to look at your work and guide you. If you know someone in publishing, that person may be able to give you a name, but they also advertise in writers’ magazines. A good one can be enormously helpful, but of course be careful. Look at the website. Ask for references and follow up.

I have space in the post for another question on this topic. More than one of you had the same question as Silver the Wanderer: …how do you know when someone is being honest with their criticism? Those who have read my work are really enthusiastic about it, but I’m not sure if that’s just because I’m young. Compliments are always nice, but I really need honest feedback. I think people might just be telling me it’s good so as to not hurt my feelings…

First of all, the compliments may be true. Your readers may be very impressed.

Or you may not have found the right readers. They may not have a clue about how to evaluate a piece of writing. Enthusiasm, which may be genuine, may be all they have to offer.

Or they may not want to hurt your feelings. That’s possible. They may also be afraid that you’ll be angry, and they may be protecting themselves from a confrontation.

Which is why it is best if possible to find writers, because writers understand that writers need criticism.

Alas, dishonesty can be nasty as well as nice, and it can be anything in between. A reader may be feeling rivalrous and may not want to say how much he liked what you wrote. He may not be big enough to point out the terrific aspects of your story. He may even be villainous enough to name flaws your story doesn’t have. I haven’t experienced this, but a writer buddy once later confessed that she had given me story suggestions out of motives that were outside the story. Nothing terrible had happened as a result, and I appreciated her belated candor. At the time I had no idea.

So you may not be able to tell if a response is honest, and you may be hurt by a response, even by true criticism that you learn from. The most important thing is to concentrate on your work, not on your feelings, and how to make the writing better.

Here’s a prompt: Three writer friends get together to discuss one another’s work. Write the scene. Invent snippets of the stories of each one. I said not to show your writing to a frenemy, but two of your characters can be frenemies. If you like, you can make up the most awful critique session imaginable, or you can be milder, but you need some tension. You can be funny or serious or even tragic. You can go into fantasy; the writers don’t have to be human.

Next week, another post about critiquing. If you have more questions on the subject, please send them along.

Have fun, and save what you write!