To Follow Rules or Not

Last week while running the 50-word critique advice contest, I got into an interesting conversation with contestant Ara Hagopian of MA.

Having created the contest, I'm the one who set the 50-word limit to keep the event simple. I have to follow such contest/submission rules when sending in my work and encourage other writers to do the same because there's no leverage in such a task. We're asking strangers to accept our work when they have no reason to do so. The best we can do is give them one less reason for rejecting our stories.

Yet there's a part of me that's a rule-breaker who craves to blast all limits in my path, otherwise known as the Renegade Syndrome, of which I think most writers suffer. While the risk of alienating agents/publishers/readers is high, a streak of antiauthoritarianism seems necessary for pushing the boundaries of the craft. While breaking rules related to word counts, grammar or style, fails miserably 99% of the time, the philosophy leads to fantastic results 1% of the time.

Ara's response, however, suggests that following the rules — especially those related to the business of submission — should not be seen as a hindrance, but rather a challenge for our wayward hearts, minds and spirits:

In the business-to-business writing world, word counts are absolute and non-negotiable. I’ve found they’ve made me a better writer because I’m forced to edit and rethink and reword, while keeping the message intact; very healthy exercises for a writer. In fact, I’ve found that editing down often improves my message, point, or summary, and in fewer words.

I once had the one-time job of editing artists’ and writers’ bios for a museum in Lowell, MA. The laminated bio card we were making for each person was the size of an index card, so it was decided to limit the bios to forty words. Easy, right?

I solicited all the people the museum showcased, about twenty folks. Some came in under forty words. Great. Some came in a bit over, no problem, I can edit. Some came in with two pages, 500 words! The director said, ask them again, or no laminated card next to their work! So I asked again. It was painful; a few people were at a loss to boil their bio down to what they considered an impossibly low word count. They physically couldn’t do it...

I think a big part of being a successful, professional writer, is to follow the rules. You know, double space your copy if they request it; label your first page with your name, phone number and genre, etc. Because you want to be perceived as someone who is a pleasure to work with. You can be creative in your content; that’s where you’re free.

An excellent point.

And if you're wondering, Ara's pen and ink on paper artwork will be featured in a solo exhibit titled The LITERATE Show from April 10 to 30 at the Brew’d Awakening Coffeehaus, 61 Market St, Lowell, MA.

Thanks, Ara, and happy writing!

Interview With Critique Guru Becky Levine

For those of you who have been following, today is a special day for three reasons:

1. I’m posting the interview with Becky Levine, author of The Writing and Critique Group Survival Guide.

2. I’m announcing the winner of the In 50 Words or Less, What’s the Best Piece of Critique Advice You Can Offer Other Writers Contest.

3. I’m going to get the results of a top-secret scientific study to find out how many viewers of today’s post actually read through the interview first before finding out who the winner is, and how many jump to the ending then go back to the interview.

Now these words from Critique Guru Becky Levine, veteran of no less than 15 years’ worth of critique group membership:

Q: When you’re critiquing someone’s work, what should your goal be?

A: I believe a critiquer’s first goal should be to help the writer make significant progress on their project, to help them get that project closer to “done,” whether done means the point where they’re happy with it, ready to submit to an agent or editor, or ready to self-publish. It’s important for the critiquer to remember that this is the author’s manuscript, not his, and that he is helping that writer turn her project into the book she wants. At the same time, within that respect for the writer’s vision, the critiquer needs to push himself to provide deep, thorough feedback that will truly help the writer, will give that writer something solid to work with.

Q: When you’re having your work critiqued, what should your goal be?

A: Listen. There are all sorts of jokes about how quiet a writer has to be while he’s being critiqued, about taping his mouth closed so he doesn’t interrupt. On the serious side, though, the writer needs to resist those impulses to jump in, either with explanations or questions. First of all, the critiquer has put time and energy into her feedback, and it’s the author’s time to be respectful and give value to that effort. More importantly, though, listening carefully to feedback sparks ideas. As you’re listening to your critique partners’ comments and suggestions, you’re looking at those ideas in terms of your story, your book. Your mind is chewing things over, seeing how these new thoughts fit into your existing project, coming up with new twists and turns. When you break the train of your critique partner’s feedback, you’re also breaking the flow of that feedback into your brain. Scribble down any questions and, at the end of the critique session, take a few minutes to ask them. While the critique is being presented, take advantage of the chance to pay close attention and think.

A: What are the disasters that can befall a critique group?

Q: Okay, maybe I’m being an optimist here, but I think most disasters can be avoided with some talking. Yes, there’s always the really bad fit—where one or more critique partners find they just cannot work together. However, people can educate themselves and each other about critiquing, just as they can learn about writing or any other craft. If someone is critiquing too harshly, the other critique partners can point it out (gently, to start!). If someone isn’t giving strong enough feedback, the other critiquers can give examples from their own feedback to show the kind of comments they’re looking for. I’m not saying that these situations can’t be tricky, or even tough, but a strong critique group develops over time, with patience and interaction. Disasters, or blow-ups, are much more likely to happen when people are pushing their feelings down, rather than trying to work out a solution for them.

Q: Why did you decide to write a book about this subject?

A: I’ve participated in critique groups for almost fifteen years, and I think they’re one of the most important tools a writer can have for growing their writing skills and making progress with specific projects. As a freelance editor, I started speaking at conferences about revision techniques and kept finding myself pointing out that critique groups are invaluable for helping with revision. Then, really, the chance to write the book dropped into my lap, when I met a Writer’s Digest editor at one of these conferences. Obviously, it was a chance I couldn’t pass up!

Q: What a critique lesson you learned first-hand that lead to a piece of advice you’d like to share with other writers?

A: When I first started critiquing, the group I was in used a pretty standard routine—we submitted a chapter each meeting, every two weeks. At the meeting, we critiqued those chapters. This was a good way for us to be working, at the time. After a while, though, that group—and the one I’m in now—realized this was too limited a structure. Some of us were getting close to submission, others of us were just writing really productively, and we wanted feedback on larger chunks of pages. We also found that there were times when one of us wasn’t submitting, because they were stuck—they weren’t writing. We all realized that our group, any group, needs to evolve and adapt to meet the needs of its members. These days, we submit anywhere from one chapter to 30 or 40 pages at a time. We check in with each other ahead of time, see what else is coming from the other writers, and gauge how much critiquing each of us can do before the next meeting—and still get our own writing done! We also set aside time for brainstorming, to help each other get past those stuck spots and keep writing. We do whole-manuscript reads when an author needs them, scheduling the critiques to be presented two or three meetings out, depending on everybody’s level of business at the time. Once you’re with a set of critiquers that you trust, who you know can and will help you with your writing, the best thing you can do is keep that group working, be open to changes that will let the group, and all your writing, grow.

What more is there to say? Plenty, so feel free to ask questions and purchase a copy of Becky’s book for a much more in-depth look at this piece of the writing process we can’t do without.

Now for the Winner

If you’ve been following this spectacular 8-day performance of strength, perseverance and wit, you know we had 18 people enter. All have shown exceptional heart in an endeavor that’s no doubt taken some time out of busy schedules, so their participation puts them in the category of above-and-beyond.

Although jokey in tone, I’ve hopefully pointed out the strong points of each entry. Some have been serious, some poetic and many descriptive in a way only true writers can manage.

But of all the entries, there’s only one that best suits all guidelines of:

1. 50 words or under

2. written with style

3. inclusive of humor

4. and rife with symbolism

And that entry belongs to: Kathy McIntosh

Make writing a whole body experience. Keep your chin up, your feet on the ground, your mind limber and open to new lessons and ideas, your heart set on the goal of becoming a published writer, and your butt in the chair.

Congratulations! Kathy will let me know whether she wants a hard copy or an electronic copy of Becky’s book. I’d also encourage Kathy and everyone else to post a review on Amazon, GoodReads and other sites to help spread the word about Becky’s book.

At this point some of us may feel as we do when we get a rejection slip in the mail. If that’s you, I owe you a slice of fresh carrot cake with lovely, soft white icing melted over the top and a cup of fresh coffee or tea. When you’re next in the Bay Area, let me know and it’ll be my treat.

Thanks to all of you, each of who gets a Good Egg Award.

Happy writing!

Last Day of Contest: In 50 Words or Less, What's the Best Piece of Advice You Can Offer Other Writers?

Day: 8

Contestants to date: 18

Possible winners: 18

Days remaining: 0

Attributes displayed: sincerity, thoughtfulness, humor, experience

We have not one, but two more entries on this, the last day of the contest for the free copy of Becky Levine's book, The Writing and Critique Group Survival Guide.

Lisa Jackson gets points for springing into action with a little humor followed by some seaworthy metaphor:

Critiques are like a box of… Oh, wait, scratch that. Like seashells you find on the shore, each critique has its own beauty. Whole shells are worth saving and admiring. Enjoy the features of partial shells and ignore their imperfections. Toss damaged shells back to the sea without another thought.

Erin Kuhns from Quebec offers words of self-love and discovery:

Allow yourself to write poorly. Let drab sentences cover the page like dusty sheets that drape majestic oil paintings. All writers pen appalling prose but the great ones also use their words to lift the sheets and uncover the treasures which lie beneath.

That makes 18 contestants sprinting for the finish line in a fantastic display of vocabulary, description and concept in what's become a race of keen and writerly goodwill.

I'll post the winner tomorrow.

Until then, sleep well and everyone who's participated, know you've done great.

Happy writing!

Critique Queen Cometh!

I'll be posting an interview with Becky Levine, author of The Writing and Critique Group Survival Guide, hot off the Writers Digest press, on Wed., Jan. 20. To get you prepped, here's more about the genius behind the book:

Becky also writes fiction; nonfiction for adults and children; and young adult fiction, and is currently working on a historical YA set in Chicago, in 1913. She is a book reviewer and freelance writer for magazines and newspapers.

Through her ten years as a freelance manuscript editor and her more than fifteen years participating in critique groups, Becky has learned firsthand the support and motivation that writers can give to each other on their writing paths. She is a passionate advocate of the benefits of critique groups and the value in working to build a strong, productive group. She is available to speak at conferences, writing clubs, and your critique group.

Becky lives in California’s Santa Cruz mountains with her husband, her son, the cat, and their most recent addition–a cockatiel named Bard.

And don't forget, you've got one more day to submit an entry for our contest In 50 Words or Less: What's Your Best Critique Advice You Can Offer Other Writers. I'll announce a winner on Wed., and that lucky duck will receive a free copy of Becky's book. So if you've got wisdom to impart, email your response to me at Martha@Engber.com.

Happy writing!

Day #6 of Contest: In 50 Words or Less, What's the Best Piece of Advice You Can Offer Other Writers?

Day: 6

Contestants to date: 16

Possible winners: 16

Countdown to winner-dom: 2 days

Attributes displayed: sincerity, thoughtfulness, humor, experience

And still contestants dare to enter this race of scribe-against-scribe on this, the second to last day of the marathon. Though days behind, Cathy Thrush, contestant #15, easily sprints toward the pack with her heady entry:

Love your characters with passion.
Hurt those you love most.
Let them outgrow you.

Then put ego aside and share with your therapists.
See your loved ones through their eyes.

Reexamine your relationships with passion and persistence.
When you can do no more for them, let them go.

Ginger Stephens, contestant #16, jumps into the fray with the notion that to write is not enough, but rather constant education is a must. (Ginger actually submitted this Jan. 14, but it got buried in my inbox. Sorry , Ginger!):

Great writers aren't great because of some magical gift. Writing is a learned skill. My best advice: write, write, write, and, when you’re not writing, study the works of other writers and read dozens of books on how to write.

Bravo!

P.S. If anyone from my Grow a Great Character, Grow a Great Plot! workshop yesterday at Book Passage in Corte Madera, CA, reads this, feel free to enter until Tuesday, Jan. 19.

Happy writing!