IE #11: Critique Suggestion

Today's Information Exchange tidbit comes from Barbara Leland, a member of my online class, who posted a very helpful suggestion for romance writers who don't have a local chapter of the Romance Writers of America or who are looking for an online critique experience:

Such writers should consider joining the From the Heart Romance Writers, an online chapter of the Romance Writers of America.

FTHRW offers members an online critique group experience, along with that of a Procrastination Group and a Plot Therapy Group. To join, you have to be a member of the national RWA, pay a $20 fee and fill out an application.

Once you've had your manuscript critiqued and made all the necessary changes regarding the story, consider hiring a copyeditor to correct your spelling, punctuation and grammar, especially if you know you're challenged in this department.

I've worked with copy editor Laurie Gibson, who's fast and professional and can be reached by email: wordworker1@earthlink.net

Here are a few other resources:

A Writer's Guide to Understanding the Copyeditor

Copy-Editing Corner, which has loads of links to copyediting sites

CQ #11: Critique

I sent the last lesson to my online class participants today, the gist being how important feedback is for helping authors convey their characters in the desired way.

Critique is a tough process, not only because the material is so personal, but because comments often show a healthy gap between how authors view their characters and how readers do. Such a gap can be disappointing — because we often think we're closer to being finished than we are — and seem overwhelming.

But alas, without critique, we have no way of knowing how our character will be received by the reading public. Therefore, seek critique from qualified people — other writers and avid readers are best — that's positive and helps you achieve your goal. You can forge critique partners through classes, both online and in-person, or hire book editors. If you choose the latter, make sure to ask what you'll get for your money and what other authors have employed the editor.

There seems to be quite a need for critique groups, as well as information on how to run them, according to the inquiries I get from people who take my classes and attend my presentations. I'm thinking of starting a 6- to 8-week online critique class. If you're interested, let me know: martha@engber.com.

Here are a few other resources to get you started down the critique road:

Writing-World.com, articles on critiquing

Find the Right Online Critique Group for You

How to Handle a Critique

BQTP #11: How Do Our Characters Lie?

If we assume that lying is a part of the human condition — a necessary strategy that allows us to survive by rationalizing actions that might otherwise blow our minds — then our characters probably lie, too, even those of great integrity.

Today's Big Question to Ponder, then, is how do your characters lie? Do they reshape information to suit their needs, then talk themselves into believing that spin represents a true interpretation? Do they believe the lie is sometimes necessary in order to shield others, like the mob boss who doesn't tell his wife what he does for a living? If you're writing a memoir, when have you lied and for what reason?

Remember that not all lying is bad. I remember a Chinese proverb to the effect that if a terrified woman comes running to where you stand at a fork in the road and continues to the right, followed later by an ax-wielding nut job who asks which way she went, do you tell the truth? And how many of us have told loved ones all will be well when we know otherwise, the lie an act of compassion that allows the loved one to continue for that much longer rather than despair.

Considering the weight of the question, some levity is called for:

Lying Quotes

Lying, Center for Effective Parenting

How to Detect Lies

WW #11: The Truth About Lying

Last week I read an interesting article by Jonathan Wallace regarding various types of lying. Though the article appeared in the May 2000 issue of Ethical Spectacle, an online journal, the piece is still passionate and fascinating.

I know a number of writers who would like to define their characters by a fundamental abhorrence of lying. While an admirable trait, I wonder if the goal is achievable. Humanity's greatest strength — its ability to adapt — also seems its greatest weakness. We make rules and then rationalize why we've broken them. Often we talk ourselves into believing our lies aren't really lies, because if we twist them just right — a little more, a little more, that's it! — they look so much like the truth, why not call them that. Even people I know who have neurological difficulties that make them prone to seeing the world in black and white have methods for talking their falsehoods into the form of proven statements.

Now it's time to ask ourselves how much we lie and when we do so. This will lead into tomorrow's Big Question to Ponder. Though an uncomfortable subject, remember that no one will be looking over your shoulder as you write. The challenge is to 'fess up and so see human nature in a way you may not have considered, the goal being to portray even more complex characters and stories.

And yes, you can view my effort at the very bottom of this page. Anyone else willing to divulge his/her results?

Also, I wanted to congratulate Betty Auchard, who wrote a book of essays titled Dancing in My Nightgown: The Rhythms of Widowhood. The book is soon to be published in Spanish. Even more exciting, Stephens Press, which published her first book, will publish her second book of essays titled Welcome to the Home for the Friendless.

Stephens Press, based in Las Vegas, Nevada, publishes an array of nonfiction books, both for regional and national audiences. They have a page of very detailed submission guidelines, so if you have an idea for a nonfiction book idea, give this press a try.

Happy writing!