Tag: feedback

Categories
Writing for YA

What I Learned BY Entering Writing Contests

Aspiring authors can benefit in many ways by entering writing contests. In this post, I will talk about contests for unpublished manuscripts.

Participating in writing competitions encourages authors to learn how to format correctly, follow rules, and meet deadlines. Score sheets from the judges often provide valuable information. Anonymous feedback is likely to be honest, and when given by a qualified peer it is priceless.

Contest wins are great to add to your author bio, whether on a website, in a query, or on a book cover. Having a literary award for the bio section of a query shows an agent or publisher that you are serious about your craft and plugged into the writing community. (Just keep in mind that winning a contest gives you something to put in your query letter, but doesn’t necessarily mean you’re ready to query. Getting a yes takes more than brilliant first chapters and a snazzy synopsis.)

Besides all this, it’s nice to get recognition and validation for your hard work.

Not all contests are created equal.

Sometimes smaller contests offer bigger monetary prizes. Sometimes lesser-known contests have more detailed feedback, or more experienced and qualified judges. Check out a contest before you plunk down your money for all the details such as costs, judging pool, prizes, and so on.  

Entering contests can get expensive, or not.

Fees vary widely. I tend to enter contests run by organizations that I would like to support, anyway. Some of the better-known contests may charge higher fees, but they carry more prestige if you place. 

The dollar amount of cash prizes, number of prizes, number of entries allowed, and ratio of judges per submissions affect how well each entry places. If an author is trying to break even, those are things to consider. (I’ve never gotten close to breaking even.)

Be cautious about writing competitions that charge large fees or otherwise seem off. Do your homework before jumping in.

Feedback can be confusing.

I learned to expect varied feedback. On more than one occasion, judges directly contradicted each other! This is a common experience, because art is subjective. Contests with detailed score sheets and directions may have more consistent results, but don’t count on it. Just like readers out in the real world, judges have their preferred types of stories and writing. 

One time, I entered a contest for feedback only. Because it was a contest geared toward romance and my submission wasn’t quite what they were looking for, I knew my manuscript wouldn’t place. However, the comments about the other elements of my story helped me, and that was my goal. The organizers provided a detailed scoresheet example and were happy to answer all of my questions beforehand. That’s a win for me! 

I’ve found that the best feedback came from judges who were widely read. I value the opinions of librarians, editors, and industry professionals. That’s not to say a general reader can’t give excellent feedback, but I like score sheets that let me know the experience level of the judge who is evaluating my submission. This helps me interpret any comments or confusing scores.

Disappointments happen.

It’s easy to get caught up in the excitement of contests. It happens to me all the time!

But with a realistic idea about the different way writers benefit from the experience, the inevitable disappointment will lose some of its sting.

Find the right contest to help you achieve your goals, whether that is financial reward, prestige, or honing your craft. 

Donna Jo Stone writes YA contemporary novels about tough issues but always ends the stories with a note of hope. She blogs at donnajostone.com.

Categories
Craft Essentials

You May Be Done, But You’re Not Finished

Craft Essentials

“Rewriting is the essence of writing well; it’s where the game is won or lost. That idea is hard to accept.”

William Zinsser

Little in the writer’s life is as exhilarating as typing the words, “The End.”

If a celebration was ever in order, this would be our moment.

  • We’ve fought through the brain drain aka writer’s block.
  • Stayed at the keyboard till the wee hours of the night.
  • Surrendered free time to the fickle writing muse.
  • Missed parties, events, and time with friends and family.

But now, greatness is found in those two brief words that conclude the saga. The End. The skeptics, the critics, and those who predicted you’d never finish the book will be eating crow.

Bursting with a sudden rush of energy, (along with some well-deserved pride) you share the final product with a friend, your mom, or a writing buddy. You expect the standard oohs and aahs that attend the birth of greatness. Then somebody (clearly someone uninformed) says, “I don’t get the ending.” Or “I didn’t understand why the hero never showed up.”

The feedback is synonymous with calling your baby ugly.

You rationalize their response with the “I’ll give them the benefit of the doubt since they know nothing about writing,” brand of generosity.

Could They Be Right?

An essential component of writing well is the willingness to consider there might be a few valid points in their assessment. Some authors may not dismiss the critique entirely. They shop for additional feedback with an industry professional or pitch it to a publisher at a writer’s conference.

That can be the hard thump.

“It’s a good first draft,” says the pro. “Interesting storyline. I’d suggest you work with a coach or find a good editor to strengthen the plot and help develop your writing style. You have a promising start. Good luck with the second draft.”

If you believed the work was complete, this is a tough moment. A second draft, maybe even a third might be required. Adding more words is not the typical remedy. Killing off your darlings or discarding the overwrought half-page descriptions of the magnolias in full bloom in the moonlit night might be your road to success.

“We all have an emotional equity in our first draft; we can’t believe that it wasn’t born perfect. But the odds are close to 100 percent that it wasn’t.”

William Zinsser

The completion of a first draft is an epic accomplishment. In that finished work is evidence you have what it takes to be a writer – if you are willing to suck up the disappointment and dive in to refine and rewrite your work.

Don’t let the start stop you. You are not starting from scratch. But you do need to take a long look at your book baby with a more critical eye. The rewrite is inevitable as we learn the craft of writing. Every successful writer knows the first draft is seldom – if ever – the final.

Where Should You Start?

  • Consider the advice of the industry professional. If the feedback is general in nature, ask for specific insight for both strengths and opportunities for improvement in the work. For every “no thanks” to my first book – ten rejections – I asked for feedback that helped strengthen the work. I know their input and my willingness to incorporate it has helped me gain contracts for a total of six published to date.
  • Seek assistance from someone who has a successful track record to help move you forward. A certified writing coach or industry professional can help you accelerate your knowledge and build new skills.
  • Take a course – many are available online or through regional writing groups in your area.
  • Purchase and read books on the craft. The patron saint of this column’s book On Writing Well is a classic.
  • Attend a writing conference and select courses specific to your need.

Above all, refuse to throw in the towel (or throw a tantrum) and remember, you may be done, but you’re not finished!

Deb DeArmond

Deborah DeArmond Deb is a certified writing coach and award-winning author of five books. Her books often focus on family and marriage, covering relationship dynamics, communication, and conflict resolution. Her most recent wok is We May Be Done But We’re Not Finished (2021).

Deb’s published more than 200 articles in print and online, including a monthly column, for Lifeway Magazine. 200+ print and online articles published.

Deb helps writing clients achieve success using inquiry, humor, and a straightforward approach. Her clients describe Deb as “candid but kind” and skilled at helping “guide others to discover their answers and solutions to success.”

Website: debdearmod.com Facebook Author Deb DeArmond

Categories
Screenwriting

Show Business

After I submitted my last screenwriting post, I received feedback for my latest WIP. Although it wasn’t what I wanted to hear, it did provide some key feedback I needed to improve my screenplay.

 Feedback is crucial to writing the best possible story. That’s why I am more than willing to pay for others in the business for their thoughts on my writing. A lot of new writers don’t want to share their work for fear of rejection. However, critical feedback is part of the business of screenwriting and it serves a few purposes:

  • Helps us grow as writers.
  • Helps improve our screenplays.
  • Helps us better understand the business.

As much as we writers like to romanticize screenwriting as an art, we need to understand it is a real big-time business and sometimes a brutal one! As the great Irving Berlin once wrote, “There’s no business like show business!”

Show Business!

Since most of us enjoy our art, we assume we will enjoy show business, but unless you’re a business-minded person, your passion for the art may be snuffed out by the business of being a screenwriter. Although I am new to the industry, I can vouch that the idea of screenwriting has been heavily romanticized.

The belief that you just need a great idea of a story to make it in the business is garbage—ideas are a dime a dozen. There is a lot more to screenwriting than just a great story. That is why there have been so many movies made about show business, there is plenty of drama!

  1. The Player
  2. Sunset Boulevard
  3. Once upon a Time in Hollywood
  4. Tootsie
  5. Barton Fink
  6. Get Shorty
  7. Sullivan’s Travels
  8. Tropic Thunder
  9. Hail Caesar
  10. The Artist

Hollywood is so much of a business, screenwriter and teacher Scott Myers writes a weekly series just on the business of Hollywood. 1 Aside from actually writing, learning the craft and making the right connections are two of the most important parts of the business of screenwriting.

As most of us writers know, the concept of the lone nomad writer is another romanticized myth in the business. Writing is a team effort. And just like learning to dance, we must pick our partner carefully!

Pick Your Team!

As this post goes live I am returning from a writer’s conference where I studied the craft, networked, and pursued representation for my nonfiction writing. Regardless of which area you write, writing is a team effort. So be sure to put your team together carefully.

  • Manager (coach and industry guide)
  • Agent
  • Entertainment Attorney
  • Studio
  • Distribution team

Each of these are a part of your screenwriting journey. These are just a few of the key players you need when working in show business!

Martin Johnson survived a severe car accident with a (T.B.I.) Traumatic brain injury which left him legally blind and partially paralyzed on the left side. He is an award-winning Christian screenwriter who has recently finished his first Christian nonfiction book. Martin has spent the last nine years volunteering as an ambassador and promoter for Promise Keepers ministries. While speaking to local men’s ministries he shares his testimony. He explains The Jesus Paradigm and how following Jesus changes what matters most in our lives. Martin lives in a Georgia and connects with readers at MartinThomasJonhson.com and on Twitter at mtjohnson51.

1  https://gointothestory.blcklst.com/the-business-of-screenwriting-111b5d087f7d

Categories
Guest Posts

10 Tips to Ruin Your Book and Lose Your Readership

Writing your book should be something that the author finds interesting. However, in the long run, you aren’t writing the book for yourself. You’re writing it for your audience, which you aren’t a part of. This means that you need to offer them something worth their time and attention, which can put you under a lot of pressure. Some writers crack under this pressure and start to do things that are likely to ruin the book and make them lose their readership. This is something that you have to avoid.

In the spirit of learning through examples of what NOT to do, here are ten things that will cause you to ruin your book or lose your readership.

Wait for inspiration

This is something that too many writers are guilty of. I don’t know where they got the idea that you can’t write a good book (especially fiction) without inspiration. So, they do all sorts of time-wasting gimmicks, sit on a spot, and relax while waiting for inspiration, take coffee, take a walk, etc. These are not bad by themselves, but if you’re doing them to get inspiration, then it’s a waste. The best writers don’t wait for inspiration to write. They write to get inspired. The worst part about waiting for inspiration is that it might never come, and even when the inspiration does come, it’s not a guarantee for a good novel.

Feel insecure about your writing

Good writers have learned to write without stopping to think about what they’re writing and how good or bad it is. Taking time to dwell on your writing during early drafts will only make you feel bad about it. It might start as a self-critic or inner critic, but it might quickly degenerate into fear; fear of not selling a copy, fear of people hating your work, etc. Once these thoughts start creeping in, you begin to ruin the book you’re writing.

Ignoring the craft

Every craft has its rules, structures, and techniques which must be applied to be successful. Writing isn’t any different. One of the best ways to ruin your book is to be an artistic rebel and ignore the craft. Abandon the works of previous writers before you. Listen to no critique and don’t entertain feedback. Just do whatever you want; however, you want it.

Have a chip on your shoulder

Beyond ruining your book, this is the fastest way also to ruin your career. When it comes to publication, make sure that your best tools are defiance and arrogance. No one should ever reject your manuscript. It’s an insult to you and your hard work for anyone to say no to your writing. Rebuke them publicly if you can. Perhaps you can also drag them on social media for being so short-sighted. Do all of this instead of having a rethink and then learn from their criticism of your work and improve it.

Chase the market

There’s popular publishing saying that it’s too late to join a trend once you spot it. It would be best if you ignored this saying. Get the bestselling novels and study them to find a trend. Once you notice the trend, then write your book following this trend. Be extremely market-conscious. It would help if you neglected the fact that people would’ve moved on from that trend into something else by the time you’re done writing yours.

Take shortcuts

Since you’re trying to ruin your book, taking shortcuts to everything will do you much good. The boom in e-book and increasing ease of publishing means that you can self-publish, right? So, why work with a publisher when they’re likely to reject the work after all? Get your friends to help you preview your book and get a freelance editor to edit it, and you’re good to go.

Disregard the audience of your book

You’re trying to write a bad book, so why should you care about what the audience feels or says? That should be none of your concerns. Your book is your book, regardless of whatever experience the readers get while reading it. Write it as lazily and as carefree as you possibly can. Create boring plots and make them read your chapters without actually reading anything. You might lose a few readers, but that shouldn’t be a problem. That’s the goal, right?

Break every known (and unknown) writing rule

You don’t have to give yourself to learning writing rules and how to write in the first place. You don’t owe anyone that, do you? However, should you somehow know some writing rules already, make it a point to continuously break and disregard every one of them in your novel. After all, writing is about getting creative. So, get creative even with simple things like grammatical structure and create bad writing.

Don’t ask for or pay attention to any feedback.

People have a way of making others feel bad about their works. This is done out of jealousy most of the time. (Or so the bad writer thinks.) So, don’t allow anybody to get to you by asking for their feedback. You’re an island by yourself; you don’t need anybody’s feedback. You’ll be fine on your own. You’re a champion; that’s what champions do. If people peradventure send you their feedback, ignore them. Don’t even read or listen to it at all. You have no more growing up to do.

Be a quitter

There is no shame in quitting. If things seem to be going too well with your book, you can choose to stop and if things aren’t going well either, quitting is always an option. You don’t even have to finish the novel. Writing a good book can take a long while, and you’d need to persevere through that time, but you’re an author, not a marathon athlete. Why do you need to persevere with anything?

Conclusion

It’s important to note that this article is for those looking to ruin their books and reputation as authors and don’t mind losing their readership. If you’re looking to write a great book, you should do the exact opposite of this article or look elsewhere for tips.

Leon Collier is a blogger from the UK, working for AssignmentHolic, where he provides this writing paper service. He loves to write about everything: pop culture, history, travel, self-development, education, and marketing. When not writing, you can find him behind a book or playing tabletop games with his friends. Follow him on @LeonCollier12.

Categories
Mastering Middle Grade

Ten Ways to Be a Great Critique Partner

It cannot be overstated: Critique groups are vital for writers. The critique group is to a writer what coaches are to professional sports teams. If you want to play (write) at your best, you need them.

Many critique groups are meeting virtually, but good critique group etiquette is still as important as it ever was – if not more so. Whether you’re joining your first group or your fifty-first, it’s never a bad idea to brush up on some of the often-unspoken rules of critique groups. Here are a few do’s and don’ts when it comes to being the kind of critique group member people want to have around.

Critique Partner DOs:

Ask the group leader about expectations before your first meeting. How many pages should the writing sample be, and should you share it before or during the meeting? If you will be sharing electronic documents, what file format is preferred?

Ask each member what kind of feedback they are most interested in before you read their work. Some are interested in general reactions; others may be trying to solve a specific problem. Tailor your feedback to help each writer achieve his or her objectives.

When giving feedback, be as specific as you can, and comment from your own perspective. For example, “I wondered if this character might have a stronger response when his little sister fell,” is more constructive input than “Needs better characterization.”

Be considerate and helpful. No matter what type of feedback you offer, consider how you would feel if you were the one receiving it. Deliver every comment, whether critical or complimentary, thoughtfully and with care for the receiver.

If you have time, organize your comments. Prioritize them into “big bucket” and “little bucket,” or sort them by story component. Try to help the writer gain a sense of what problems might prevent their manuscript from getting a second look from an agent or publisher.

Critique partner DON’Ts:

When you receive criticism, don’t freak out. Criticism of your work is not the same as criticism of you as a human being, so do not treat it as such. Try not to take any comments as a judgment of your value or worth, because they are not. They’re notes from a fellow writer about how they reacted to your work product.

Don’t obsess but do notice trends. If you get certain types of feedback consistently, there’s a reason.

Try not to brush off the good things. If you’re like me, you are your own harshest critic. Learn to graciously accept compliments.

Remember to be respectful of the group’s time. Make an effort to be on time and prepared. Everyone understands that life happens, but if you’re going to miss a meeting or be late, let your group leader know.

Stay on topic. This falls under “be respectful of the group’s time,” but it is worth mentioning. Most groups have a limited amount of time, which means if you want each member to receive feedback on their work, the entire group must stick to the same agenda. Don’t hog the group’s time with tangential discussions, irrelevant questions, or personal stories. Stick to the task at hand, which is critiquing your fellow writers’ work.

These are just a few things I’ve learned over the years in various critique groups. The most productive groups are the ones who set clear expectations about group behavior early. It’s easier for everyone when they know what to expect.

What’s your critique group like? Do you share a set of guidelines or group practices, so everyone knows what to expect?

Kell McKinney earned a B.A. in journalism from the University of Oklahoma and an M.S. in documentary studies from the University of North Texas. She’s a part-time copywriter, double-time mom and wife, and spends every free minute writing and/or hunting for her car keys. Connect with her on Twitter @Kell_McK or kellmckinney.com.

Categories
Book Proposals

Discover the Power of Asking

Writing is a solitary profession and the majority of writers are introverts. Book proposals are a powerful business tool even if you self-publish to create the business plan for your book. Do you have to do it completely on your own? Not necessarily. I want to encourage you to discover the power of asking. Here’s two practical ways to use this power and improve the quality of your proposal.

1. Get endorsements or a foreword from well-known people.

I can already hear the objections. “I don’t know anyone famous or well-known. “ I know your proposal will stand out to the editor or agent with endorsements or a foreword from easily-recognizable authors or business people or celebrities. As an editor, I’ve sold my publication board on a concept (and could make a contract offer) with a foreword or endorsement in the author’s proposal. I’ve written books with forewords from Billy Graham, Jackie Joyner Kersee or Mark Victor Hansen.

Here’s what people outside of publishing don’t understand. These people did not write their foreword. I wrote the foreword, and then asked for their permission. To handle this successfully, it will take a bit of work, research and writing on your part. The first step is to write a “draft” endorsement (a paragraph) or a foreword (a short article about 1000 to 1500 words) and ask the person to review and approve the contents.

Imagine yourself as a ghostwriter for this person then write what you want them to say in the first person tense. It is easier for that person to review your writing and possibly change a few words, then approve it instead of creating it themselves. Your advanced work on the writing will make it easier for someone to say yes.

In your proposal, make sure you have a realistic list of possible endorsers. For example, don’t include Dr. James Dobson or Chuck Swindoll if you don’t have a long-standing personal relationship with them. It is rare either man will write an endorsement for a book. Years ago, I received a proposal and the author touted a possible endorsement from bestselling author Beth Moore. I called this author and learned this possibility was not outrageous because she had a personal relationship with Beth Moore. Editors and agents are quick to spot and reject an outlandish list of endorsers so be realistic.

2. Find a critique partner or join a critique group.

During my early days as a writer, I found a small critique group and it propelled my writing to new levels of excellence. When you have a critique group (online or in person), you are getting feedback from readers before sending it off to an editor or agent.

You don’t have to take all of the feedback and have to filter to select which to accept and which to reject. Yet this feedback can be invaluable to improve your book proposal or sample chapter. You will have to reach out and ask to find this group or person but a critique group will give you the writer’s edge with your submissions. I have more detail about critique groups at: http://terrylinks.com/critique

Neither of these two methods is easy or simple but will be well worth your efforts if you use the power of asking. It will greatly improve the quality (and possible acceptance) of your book proposal.

W. Terry Whalin, a writer and acquisitions editor lives in Colorado. A former magazine editor and former literary agent, Terry is an acquisitions editor at Morgan James Publishing. He has written more than 60 nonfiction books including Jumpstart Your Publishing Dreams and Billy Graham. Get Terry’s newest book, 10 Publishing Myths for only $10, free shipping and bonuses worth over $200.. To help writers catch the attention of editors and agents, Terry wrote his bestselling Book Proposals That $ell, 21 Secrets To Speed Your Success. He answers to your proposal questions at: www.AskAboutProposals.com. Check out his free Ebook, Platform Building Ideas for Every Author. His website is located at: www.terrywhalin.com. Connect with Terry on Twitter, Facebook and LinkedIn.

Categories
Mystery/Thriller/Suspense

Contests—Pretty or Prickly

mystery suspense thriller

Your opening scene has edge-of-your-seat tension, your characters are witty and full of life, the description of your setting is amazing, and your villain has just the right amount of evil. Your manuscript is perfect. Now, it’s time to win a contest and become an award-winning author. Right?

Unfortunately, new writers can be unaware that contests are prickly little things. Kind of like a cactus. Standing on a sidewalk admiring a cactus garden can be an amazing thing. All the beautiful shapes and blossoms. But as we all know, they are pretty from a distance, but up-close they can be brutal.

Many writers submit to contests and have their hopes and dreams trampled on when they don’t win or the comments received are disheartening. We’ve all heard it said that you need a thick skin to be a writer. There is no doubt about that, but part of the contest world is how you view it. Pretty or prickly. So, the question is, should you enter contests? It all depends on your purpose.

I’ve entered multiple contests. Some I’ve won, others I didn’t make the finals. And that was with the same manuscript. That can be frustrating to say the least. But I’ve learned a lot over the last few years.

  • Enter a contest for feedback, not to win. Being a finalist or winning is an added bonus, but it’s the judges’ feedback that will help your writing.
  • Enter in the appropriate category. Suspense authors usually judge suspense. Therefore, you are getting feedback from someone who’s in the publishing trenches of your genre. Who better to give suggestions on your suspense elements than someone who writes suspense?
  • Not all judges will like your writing. Similar to when we read novels, we have our favorite authors and authors that we just don’t care for. Judges are like that too. Don’t get discouraged if your entry comes back marked up by the red pen of death. Read through the comments and pick and choose what is important. However, if two judges tell you the same thing—It’s probably important.
  • Don’t take it personally. Yes, your manuscript is your baby, but the judges aren’t insulting you. They are trying to help improve your chances of becoming published.

I highly recommend contests. They can be a great learning tool. But check your reasons for entering before hitting send. That way you won’t be disappointed with the results.

It takes courage to put your book baby out there. So, breath deep and go for it.

What’s your biggest fear or best advice about entering a contest?

Sami Abrams grew up hating to read. It wasn’t until her 30’s that she found authors that captured her attention. Now, most evenings you can find her engrossed in a Romantic Suspense. In her opinion, a crime and a little romance is the recipe for a great story.

Sami has finaled 15 times in writing contests, including receiving first place in American Christian Fiction Writer’s Genesis Contest in 2019 and Faith Hope and Love’s Touched By Love Awards in 2018. She lives in Northern California, but she will always be a Kansas girl at heart. She has a love of sports, family, and travel. However, a cabin at Lake Tahoe writing her next story is definitely at the top of her list.

Visit Sami at:

Website:  Samiaabrams.com

Facebook Author page:  samiaabrams

Twitter: @samiaabrams

Instagram: samiaabrams 

Categories
Writing for YA

Why Your Beta Stopped Reading Your Manuscript

Finding a reliable and dependable beta reader can be a challenge. They often bail on you. Why? This topic comes up regularly on beta read groups.

First, let me point out the reasons why a beta reader may never start reading a manuscript.

  • The author ignores formatting requests. I ask writers to put their manuscript in standard submission format. Not everyone wants this, but if your reader asks for a certain format, then try to be respectful and accommodate. Try to avoid tiny print, colored font, weird formatting, or other issues that may be an obstacle to easy reading.
  • Ten chapters landing in their mailbox when they asked for one. 
  • A manuscript with the chapter numbers removed and several chapters squished together when they asked for one chapter.
  • The author makes unreasonable demands, such as fast turnaround, free line editing, and/or free proofreading.

Why a beta reader may stop reading a manuscript after one, two, three, or four chapters. Or pages.

  • Materials are vastly different from the description. If a book is listed as PG-13, graphic sex scenes or violence shouldn’t be in the book. If it’s pitched as a cozy, blood and gore on page one can be a shock. The novel also needs to fit within the expected market guidelines for content. A YA novel, even if self-published, still needs to follow certain standards.
  • Often, I will stop reading after a few chapters. This is because at this point of a beta read, the big picture problems are apparent. If the author consistently has the same issues in the first four chapters, I begin to repeat myself and my advice becomes repetitive. There’s no reason to continue until the writer has reworked the rest of the manuscript. To carry on is frustrating for both reader and author.
  • If a submission is too rough and has editing mistakes in every line, a reader may stop after a page.
  • Nonproductive dialogue with the author can ruin the reader-author relationship. Some writers desire affirmation rather than feedback. Encouragement is helpful to a certain degree, but beta readers primarily provide feedback to assist a writer find the flaws so they can improve. That does not mean writer must take all, or any, of their reader’s suggestions. But the author should expect suggestions rather than only praise. The beta should point out what works and what doesn’t.

Other reasons your beta stopped reading.

  • They got sick.
  • There was a family emergency. 
  • An unexpected work situation came up.

In other words, life happened.

It’s not always about the manuscript.  A reader can have many reasons for not finishing your book.

Beta reading is hard work and time consuming. Volunteer beta readers don’t owe anyone an explanation if they find they can’t or don’t want to finish reading a manuscript. 

Remember, your beta readers are doing you a service and should be treated with respect.

Always be kind if it doesn’t work out, and move on.

Donna Jo Stone writes YA contemporary novels about tough issues but always ends the stories with a note of hope. She blogs at donnajostone.com.

Categories
The Intentional Writer

How to be a Helpful Critique Partner

The intentional writer

Last month I talked about how useful critiques are for writers, because they provide important feedback that helps us improve our craft and clarify our message.

Writers must learn how to accept critiques. We must also learn how to critique the work of others in a way that is loving and helpful. These principles can help you become a better critique partner.

Principles to help you give helpful critiques

  • Be encouraging. The ancient oath for physicians included the promise, “First, do no harm.” It is a useful reminder for critiquing the precious work of a fellow angst-filled writer. Always find something positive to say! It’s easy to focus on what is wrong, or what needs to be improved. Make the effort to note what is working, what you like, what made you laugh, and the insights that touched you.
  • Ask what kind of feedback the writer is looking for. This will vary depending on where the piece is in the process. In a first draft the writer may be testing out a character or plot idea. In a later draft she may be more concerned with getting a description just right. It’s easier to give useful feedback when you know what to look for, so ask.
  • Be fair and reasonable. Don’t compare the work being critiqued with your favorite author. Teachers don’t expect a third-grader to write a story as well as a tenth-grader. In the same vein, you should try to give feedback in keeping with the level of the writer, not expect them to attain standards that are beyond their current skill. Consider what criticism will help them take the next small step toward better writer. Look for a key area where they might grow and suggest how they could improve in that area.  
  • Don’t focus solely on the obvious. Typos, grammar, and incorrect facts are easy to catch. Try to look beyond them to what else is there, such as structure, characterization, motives, world-building, theme, etc.
  • Notice what isn’t clear or what doesn’t make sense. A piece of writing is only effective it if communicates what it’s meant to communicate. All writers need feedback to ensure they are getting their message across.
  • Notice what is missing. We all have some aspects of writing we tend to skip. For example, my critique partner is always asking me, “How does he feel when that happened?” She helps me remember to include the emotions I would otherwise ignore.
  • Notice what doesn’t feel right. Is the heroine acting out of character in this scene? Does the action seem unbelievable? Does the voice not come through like it did in the last scene?
  • Notice how the writing makes you feel. What emotions does the piece evoke? Do you like the characters or not? Are you intrigued or tempted to skim over stuff? Do you sense something ominous? This may be helpful feedback, so pay attention as you read.
  • Whenever possible, read through the piece more than once. That gives you a chance to focus on different facets of the writing with each pass.
  • Finally, remember your ultimate goal is to inspire, encourage, and enable growth. Be kind. Be encouraging. But also provide honest and constructive input that can help the writer take their piece to the next level.

Award-winning writer Lisa E. Betz believes that everyone has a unique story to tell the world. She loves inspiring fellow writers to be more intentional about developing their craft and courageous in sharing their words. Lisa shares her words through speaking, leading Bible studies, writing historical mysteries, and blogging about living intentionally.

You can find her on Facebook  LisaEBetzWriter Twitter @LisaEBetz and Pinterest Lisa E Betz Intentional Living.

Categories
The Intentional Writer

How to Face A Critique

The intentional writer

Does the word critique fill you with dread? It shouldn’t.

I have learned most of what I know about writing by receiving critiques. It started in school, when teachers graded my first early efforts. It continues today every time I seek the input and feedback of others.

All artists need feedback in order to improve their craft. Consider a piano student. Each week she goes to her instructor and receive a lesson, which consists primarily of a critique on whatever skill she is trying to master. The same goes for an athlete and her coach.

Critiques should be welcomed as a writer’s best tool for improvement. Here are some suggestions for making the most of critique sessions.

Tips for facing a critique

  • Attitude is key. Start with a teachable spirit. If you are not open to feedback and willing to learn then there is no point in asking for a critique.
  • Remember a critique is not an attack on you or your worth. It may feel painful, but a good critique will always help you grow rather than tear you down.
  • Think of the person giving the critique as a teammate or coach, not an adversary.
  • Remember, a critique is not a contest. There are no winners or losers. You are not at war and you don’t need to defend yourself.
  • Listen to everything politely and without interrupting. Listening silently does not mean you are being passive, or that you agree with what is said.
  • Expect to learn something. Approach every critique session with the attitude: What can I learn from this discussion?
  • Even if you disagree with a critiquer’s opinions, you can still learn something. For example, you might learn that some readers will not understand a paragraph the way you meant it to be understood. That is valuable feedback.
  • A good critique will cite specific examples of what is being criticized. If examples are not cited, ask for some. Example: “You say my writing is choppy. Can you show me what you mean by that?”
  • When it’s practical, ask the critiquer for suggestions on how to improve. You can learn much from someone who points out a writing weakness and then shows you how to make it better.
  • There are two main kind of information you gain from a critique. A) How well am I mastering my craft? and B) How well am I communicating what I am trying to say? You need feedback in both areas.
  • You do not need to follow all advice you receive in a critique session. Use your best judgment. (If you receive similar feedback from several sources, you should take a good hard look at the issue. If you don’t agree, begin to ask why they think what they do and see if you can get to the root of the problem.)
  • When you consider how much weight to put behind a critique, consider the critiquer’s experience, skill, and familiarity with the genre and today’s publishing realities.

Unfortunately, we have all experienced critiques that did more damage than good. It happens. Here are some suggestions to avoid non-constructive critiques and mitigate the problems they create.

Tips for protecting yourself against malicious or unhelpful critiques.

  • Be suspect of any critique that is 100% praise.
  • Do not expect expert advice from beginning writers.
  • Do not expect good writing advice from those who don’t write and rarely read.
  • Realize that someone who does not enjoy your genre will probably not enjoy your manuscript. This does not mean their critique is unhelpful, but you might need to guide them to look past the genre to specific things. For example, ask them: “Can you picture my setting?” or “Can you follow my main character’s logic?” 
  • Don’t expect a helpful critique from someone with an axe to grind against you or the topic of your manuscript.
  •  Learn who not to ask! When someone rips your writing to shreds, choose not to open yourself up to that pain by asking them again. Like anything in life, we need to keep wise boundaries.

Critiques are important and powerful tools for improving our craft and honing our manuscripts. May you face them with confidence and utilize them wisely.

Award-winning writer Lisa E. Betz believes that everyone has a unique story to tell the world. She loves inspiring fellow writers to be more intentional about developing their craft and courageous in sharing their words. Lisa shares her words through speaking, leading Bible studies, writing historical mysteries, and blogging about living intentionally.

You can find her on Facebook  LisaEBetzWriter Twitter @LisaEBetz and Pinterest Lisa E Betz Intentional Living.

Categories
Screenwriting

This is a Test

Recently I received a notification on social media about this year’s film awards.  Traditionally, November through February is awards season in Hollywood. Not just for the blockbuster movies released this year, like Roma  or The Irishman or the big awards shows that are aired nationally:

  • Oscars
  • Golden globes
  • People’s Choice Awards

It’s also award season for screenwriting competitions. For many aspiring screenwriters, the lure and hope of winning a competition is a ray of hope and gift of breaking into the industry. Everyone wants an easy path to their writing dreams. The contest business is a booming industry for screenwriters.

Contests?

When I first started writing screenplays over a decade ago, I thought all I had to do was win a screenwriting contest and agents and the money would follow me everywhere. Back then, I was ignorant of how the industry works and what the real benefits of contests are.

First, I want to be clear about what contests aren’t:

  1. A guarantee of getting a movie sold or produced.
  2. A shortcut to screenwriting success.
  3. Like buying a lottery ticket and hoping you win the jackpot.

These are just a few of the myths I bought when I started screenwriting. But, over the years I’ve learned the real benefits of entering the screenwriting contests. They may not pack as much bang for the buck as I’d hoped, but there’s still a lot to be gained from competitions.

  1. Contests are a way of making connections in the industry, and networking is the name of the game in Hollywood.
  2. If you’re just starting, contests are a great way of getting some feedback about your writing skills. Just be sure to enter contests that offer entrants feedback or as we call it, coverage.
  3. If you are a skilled storyteller, contests are way of marketing your script to the powers that be in the industry. Be sure to check on who the judges are in the contest before entering.

All in all, a contest can still be a starting point for your career by landing you future writing jobs or they may simply build your reputation within the industry.

Starting Points?

At best, a contest or gets you meetings with managers, agents, and studio heads. If you play your cards correctly, you may walk away with an option or two if there’s enough interest in your writing chops.

Eight years ago I won a regional screenwriting competition in Georgia and I remain in contact with the creatives I met through the contest. Although I didn’t get a big sale from the contest, I did learn about screenwriting and walked away with a wealth of knowledge.

In closing, I want to encourage you to do your homework before entering a contest.  Check and see if it is worth the investment of the entry fee. Not all contests are created equal. Some may offer a cash prize, but no coverage of your script or credible contacts into the biz. Below are a couple of the main contests that can help launch a career.

  • Nicholl Screenwriting Fellowship – This is the most respectable competition and is run by the Academy of motion pictures (Oscars). Past winners include Erin Brockovich.
  •  The Austin Film Festival – past winners include Juno.
  • Final Draft’s Big Break competition – most winners land management or writing gigs.

Remember if you’re still trying to break into the screenwriting industry, a contest is simply a starting point, not the end of your journey. Ultimately, the truth is about screenwriting contests; it’s a test.

Martin Johnson survived a severe car accident with a (T.B.I.) Traumatic brain injury which left him legally blind and partially paralyzed on the left side. He is an award-winning Christian screenwriter who has recently finished his first Christian nonfiction book. Martin has spent the last nine years volunteering as an ambassador and promoter for Promise Keepers ministries. While speaking to local men’s ministries he shares his testimony. He explains The Jesus Paradigm and how following Jesus changes what matters most in our lives. Martin lives in a Georgia and connects with readers at Spiritual Perspectives of Da Single Guy and on Twitter at mtjohnson51.

Categories
Writing for YA

What’s a Beta Reader and Do I Need One?

All writers need feedback. Should you use a beta reader?

What is a Beta Reader?

The majority of people define a beta reader as a test reader, a person who reads your manuscript after it has been critiqued, polished, and edited. Most writers will provide a list of questions for their beta readers. These questions ask for general feedback about character development, plot, setting, and so forth. Some writers feel it is best not to ask leading questions, while others ask readers to evaluate certain areas that they think need attention. Beta readers are generally intended to catch big picture story problems or plot holes.

Some people use beta readers as editors and proofreaders, but betas are not a substitute for editing. Betas can stray into critique as well.

Paid Betas

There are many paid beta reading services. These might be considered a budget version of a content edit, or a first pass content edit, and seem to stick to test reading only. I had one individual offer to read my manuscript for free and she did a fair job. I provide a list of questions for my betas, but she had her own, which were similar to mine.

If you plan on using a paid beta reader, shop around. Ask for recommendations and referrals.

Ready for a Beta?

Free beta readers can be found in online groups. If you decide to take the plunge and use a beta reader, save time and aggravation. Submit the first chapter and see if they respond with appropriate and timely feedback.

It pays to be leery of beta reading offers from people who don’t read in your genre. There’s nothing like having a beta offer to read and then confess they do not like this genre right before they suggest rewriting the manuscript to please them. On the other hand, a good beta will be able to read across genres and offer constructive feedback.

I’ve gotten everything from single word answers to a full blown expository review. I always read all comments. One reader gave strange answers to the response questions, repeatedly citing an incident that wasn’t in my book. I wanted to ask if she’d been watching Netflix while beta reading. BUT, she did comment in track changes on my MS, catching several typos and a couple of crucial loose ends. Go figure.

I’ve met some amazing writers through beta reading groups. The community is generous and most try to do their best. A few people have reached out to me and helped me without asking for anything in return. I’ve met some wonderful writers who I consider to be some of my most valued critique partners and beta readers. They help me see things I wouldn’t have otherwise because I’m too close to the project. A good beta reader’s value cannot be overestimated.

My all-time favorite betas are two wonderful ladies in the UK. For some reason, the criticisms are easier to take and the encouragement makes me smile. “This part is a bit muddled” and “Brill!” just tickles my ear.

Do you use beta readers? Tell me about your experience.

Donna Jo Stone writes YA contemporary novels about tough issues but always ends the stories with a note of hope. She blogs at donnajostone.com.

Categories
Guest Posts

How to Run an Effective Writing Group

Dan Brotzel, author of a new comic novel about a writers’ group and a member of a successful group in real life, shares some practical tips…

How do you get started?

Writers’ groups often begin with a nucleus of a few friends with a shared interest in writing. From there, you might put out feelers in local networks or you library. Groups typically meet every 2-4 weeks.

Tip: Don’t worry if you only have a small group at the outset. This will give you time to work out the right format and approach for your group.

What’s the best format?

In our group, everyone brings along an original piece of work to read, and we listen and then give feedback and discuss each one in turn. Some writers’ circles may set writing challenges or discuss writing-related topics. The key thing is to find a format that works for your group. For me, you can’t beat the experience of reading out loud to others as a way of developing as a writer. 

Tip: Avoid any misunderstandings by making it clear at the outset what the format of the group will be.

What’s the optimum group size?

For us, 5-6 is best, if you consider that we meet for about three hours in evenings and it takes roughly half an hour to hear and discuss each member’s work. Some bigger groups are open to all-comers every time, which may mean that only a few of the people present can read. This is a pity, because the best groups provide a supportive environment where even the least experienced or confident writers can feel empowered to read something.

Tip: If you have a lot of interest in your group, you may need to cap each meeting to a maximum number, perhaps by booking in the first 7 people and having a couple of reserves.

Do members have to attend every time?

No. Our group has a core of about 5 regulars, and another 4-5 who come when they can. But even regulars can’t make it very time, so in practice we usually get a turnout of about 6-7. If lots of people are having problem making a date, we’ll just reschedule for a better time.

Tip: Let people find their own frequency of attending. Having a slightly different mix of people each time helps keep things fresh too.

Where’s the best place to host a group?

Some groups take place in pubs or cafes. But it can be a challenge to find the right space to meet undisturbed. Our group meets roughly every fortnight in a different member’s living room each time. This creates an intimate and comfortable atmosphere that works really well for what we’re trying to achieve.

Tip: Not everyone has a home space that’s ideal for a group like this, and some groups meet in the same home every time. Let members know that hosting a group is optional.

What can you read?
Our group is very flexible on this. You can read a poem, an extract from a novel, a script – anything really, so long as it’s yours. Self-contained pieces probably work best, so long as they aren’t too long – 3000 words is about the maximum for our sessions.

Tip: Encourage people to read something, even if it’s a practice piece or an old story, as well as to feed back. That way, they’ll feel more part of the group.

How do you handle feedback?
The key is for feedback to be honest, constructive and supportive. You want to try and articulate what you thought and felt as you were listening to a piece, say what you liked about it and perhaps a suggestion or two about how it might have worked even better. But of course you don’t have to say everything you think.

Tip: When feeding back, look out for good storytelling, giving the reader pictures, engaging the emotions, keeping the reader entertained or in suspense or amused.

What if there are disagreements in the group?

Writing is an intense, personal business, and disagreements can inevitably happen. You might get differences of opinion about the way the group is run, or someone might object to some feedback or to the content of a piece of writing. A big help here is to be clear about what the group is for and have a few ground rules about material, reading time per member, approach to feedback and so on.

Tip: Circulate a brief summary of how the group works and a few basic ground rules.

Dan Brotzel is co-author of Kitten on a Fatberg, a comic novel about a writers’ group. As a reader of this blog, you can pre-order Kitten on a Fatberg for a 10% discount — quote code KITTEN10

Categories
Writing with a Disability (Different Ability)

Proofreading?

Often, what we intend to say never comes through in what we write. Sometimes our enthusiasm inhibits the thoughts we are trying to communicate. Unless you’re one of the writing savants who never makes a mistake, you will have to revise your writing—you will have multiple drafts.

Multiple drafts ensure that your takeaway is clearly communicated. Revisions require rereading of our writing.

This aspect of writing gives me the most trouble with my disability. Again, my brain injury affects my eyesight. I have trouble reading an entire line without losing my place. I can look at a sentence a billion times and never see a typo. The situation is complicated more by my use of speech dictation. If my software dictates incorrectly, I overlook the error. But, like any other writer, I must sharpen my writing skills.

After college, I wanted to learn more about my craft. I knew I needed to learn how to communicate clearly with my audience. My goal was to be a professional writer.

Almost 10 years ago I learned about a professional writing course that utilized Christian authors as mentors for writing enthusiasts like me. After I received all the information, I applied for a grant for people with brain injuries in Georgia.

I was so excited when I received my introduction packet from the writing program I immediately got to work on crafting an introductory email to send to my assigned mentor and emailed it before I went to bed that night.

The next afternoon I received a reply to my introduction and I was heartbroken. My mentor stated that due to my poor grammar and careless mistakes, she didn’t feel I was ready for the program and suggested I go to a community college to learn the basics.

Bewildered, I sat in my living room and pulled out my introduction packet. When I flipped to the second page my heart sank. My first assignment was to email my mentor an introductory message to share my background and plans for the course. The next day I received a correspondence from the program informing me I was no longer enrolled.

In disbelief I emailed the head of the program and explained my situation, his reply gave me hope and forever changed how I l viewed writing. He offered to assign me another mentor and give me another chance along with sage advice I’ve put in my writer’s toolbox.

“From this point on, you have to look at yourself as a professional writer. I don’t care if it’s a simple love letter to your sweetheart or a thank you card to a coworker, it needs to be polished, edited and proofread.”

Proofreading?

Writers are only as good as they are readers. Stephen King once noted, “If you want to be a writer, you must do two things above all others: read a lot and write a lot.” Just saying that makes me cringe.

Sometimes it can feel like you’re just talking to yourself. After all, you already know what you said. Or do you? Do you think you know what you said or know what you said? You never know until you actually go back and reread what is written. That is my purpose for proofreading, but along the way you may notice other reasons why you need to proofread.

  • Spelling
  • Punctuation
  • Grammar
  • paragraph/sentence structure
  • content (did you say ever everything you wanted?)
  • content flow
  • contextual meanings (sometimes we say something in our heads and it comes out completely different in print)
  • is your voice present

Maybe it’s just my brain injury, but I hope I’m not the only one who’s, …

“Did I say that?”

Sometimes we know our message so well it’s what we see on a page even if it’s not what is actually there. Our brains hear it even when it’s not written. This is why it is important to get a second set of eyes to look over our writing (especially in my case).

Find readers who understand what you’re trying to say and let them give your work a look over. Family and friends are great, writer friends even better or better yet, a professional editor. They will let you know if they can hear your message clearly.

In the 21st-century, most writing programs and speech software like I use incorporate playback functions, this is another way we can make sure we hear our message:

  1. Microsoft Word: Speak text-to-speech feature
  2. Scrivener: Start Talking feature
  3. Pages: How to use text-to-speech
  4. Dragon Naturally Speaking: Playback Text-to-speech

Each of these features can help us better listen to what we are actually saying in our writing. However, they can never replace a professional writer’s need for proofreading.

Martin Johnson survived a severe car accident with a (T.B.I.) Truamatic brain injury which left him legally blind and partially paralyzed on the left side. He is an award-winning Christian screenwriter who has recently finished his first Christian nonfiction book. Martin has spent the last nine years volunteering as an ambassador and promoter for Promise Keepers ministries. While speaking to local men’s ministries he shares his testimony. He explains The Jesus Paradigm and how following Jesus changes what matters most in our lives. Martin lives in a Georgia and connects with readers at Spiritual Perspectives of Da Single Guy and on Twitter at mtjohnson51.

Categories
Fantasy-Sci-Fi

The Value of a Good Critique

Every writer can use a solid critique of their work, especially when they are preparing their work for professional submission. Even a seasoned writer needs a partner. This is because, as writers, we are too close to our own work to see the subtle changes that need to happen within our stories to make them the best that they can be. It may be something obvious, like clarification of a character’s intent, or it might be less glaring, like tweaking a sentence to change the meaning behind the words of the story just slightly.

However, just as not all writers write exactly the same, not every critique partner will be alike, either. Here are a few suggestions for finding the right critique partner for your fantasy/sci-fi genre stories.

Writer groups. Most authors seek to belong to at least one writer group that meets locally. This is the most personal way to find a critique partner that might be right for you. Take care to choose someone who writes within the fantasy/sci-fi genre and doesn’t have too contrasting of a voice between their work and your own. This will help you both to focus on your stories, without getting distracted with style or genre differences. The benefit of a local critique partner is that you can meet together in person, as often as you like. But don’t get discouraged if you don’t click with anyone in your hometown. There are other ways to connect with fellow writers, as well.

Online groups. With the dawn of social media, many authors have some sort of online presence. Take a look at writer groups that your fellow writer friends are part of or ones that they follow, and then join them, too. Here you can watch the chatter within the group and find someone with a similar writing style that you think might work well with you as a critique partner. Establish an online relationship with them by commenting on their posts or responding to their comments on other posts. Then reach out to them through a personal message explaining why you think you would work well together. Be sure to establish a working relationship with them first, so they can separate you from a stranger whose message they may dismiss.

Conferences. Once again, here you will have the personal edge when searching for a critique partner. A conference is a great place to network and meet fellow writers you otherwise would not have had the opportunity to meet. There’s no need to find a partner who lives in the same town as you, since it’s just as easy to communicate electronically. Find the right person with whom you click the best. Understanding your partner’s writing style and voice is more important than living in the same time zone. Passing along critiques to one another can be as simple as commenting on a Word doc emailed once a week, or it can be more in-depth with a weekly or monthly Skype call where you can talk face-to-face.

Take your writing to the next level and engage with a critique partner. Not only will you glean valuable information from the comments your partner suggests on your own work, but you’ll grow as a writer as you critique their work, as well.

Laura L. Zimmerman is a homeschooling mama to three daughters and a doting wife to one husband. Besides writing, she is passionate about loving Jesus, singing, drinking coffee and anything Star Wars. You can connect with her on Twitter @lauralzimm, Instagram @lauralzimmauthor, on Facebook and at her website Caffeinated Fiction.

Categories
Mastering Middle Grade

Summer Reading Research

School is out, and summer reading programs are gearing up in public libraries everywhere. Summer months are the perfect time for audience research.

An editor at SkyHorse publishing once told me she reads thousands of manuscripts about growing up in the seventies and eighties. She said they were fun to read, but they are not what she is looking for. What she wants are manuscripts that are relevant for kids growing up in this decade. Kids do not understand nostalgia. They are creatures of the here and now, and need stories about their world – not the one we writers wish they had.

If you are writing for kids, you need to read kids’ books. If you write kid characters, you need to understand how kids speak to each other, how they think and behave.

I can hear you asking now: How do I do this without being creepy?

As I mentioned earlier, it’s summer. Public libraries and brick-and-mortar bookstores have summer reading programs and plenty of supervised activities from June until school starts. This gives you a fantastic opportunity to:

1) Find age or grade-specific reading lists. Read everything on them. Pay attention to how the authors write for their reader. What is working and why does it work?

2) Introduce yourself to the kids’ librarian or manager at your local bookstore. Ask them what your target audience is reading. Find out what he or she thinks will be popular and why. Find out what the “regular” customers are reading. Are there any under-rated books flying under the radar that they recommend?

3) Listen. Aside from eavesdropping in the aisles, you can ask your librarian for permission to take a poll at any of their summer reading or writing classes. You can ask for permission to read sample chapters and get feedback from the kids. You can ask things like, ‘Does this sound like something one of your friends might say?’ or ‘how do you think this character would solve the problem?”

What did I miss? How do you research your middle grade readers?

Kell McKinney earned a B.A. in journalism from the University of Oklahoma and an M.S. in documentary studies from the University of North Texas. She’s a part-time copywriter, double-time mom and wife, and spends every free minute writing and/or hunting for her car keys. Connect with her on Twitter @Kell_McK or kellmckinney.com.

Categories
Guest post archive

Becoming a Reader-Centric Writer By Cathy Fyock

 

Have you ever picked up a book and after a few pages, put it down saying, “This isn’t for me.” Have you ever listened to a speaker and found yourself turning away, thinking, “This guy doesn’t get it.” Or have you met with someone offering professional services—perhaps a consultant or coach—and walked away, saying “We just aren’t on the same page.”

As writers, we want to connect with our readers. We want our readers to say, “Yes, I get it.” We want to receive reviews that say, “This writer knows what it’s like” or “This author is my kind of people.” In the words of Seth Godin, author of Tribes, we want to develop tribes—followers who get us, understand us, and perhaps most important, believe that we “get” them.

When we connect with our readers, we develop loyal and faithful followers. When we speak the language of our readers, we grow our tribe. And we sell our books, along with our products and services. So how do we as writers become more reader-centric?

I believe that it starts with the strategic plan for your book—before you write the first word. Who is it that will benefit from your book? Who needs this book? What groups of people are hungry for the ideas and solutions that you offer? By first starting with your targeted reader as the central point for your writing, you begin to write in a reader-centric manner.

And remember the Native American proverb: if you chase two rabbits, you will lose both. Don’t think your book is for everyone. It is for someone. And once you identify that someone your writing will improve.

[bctt tweet=”Don’t think your book is for everyone.” username=”@A3writers”]

Are you a reader-centric writer? One way to test that answer is to examine your writing. While your stories and experiences are indeed about you the writer, do you include the reader? How many times do you use the word “you” versus the words “I” or “me”?

In working with an author’s manuscript, she often discussed “my” clients and talked about what “I” did. We took another look at her writing, and decided that it was possible to make these into “you” statements, by merely changing the statement from, “This is what I have done,” to, “Are these situations that you have experienced?” By refocusing the writing we were able to create language that was inclusive.

Next, develop ongoing strategies to keep in touch with your readers and your market. Outlined here are several ways to strengthen your radar and keep your readers’ ideas, challenges, and needs in the foreground.

Invite feedback from your reader. When you write a blog post, do you end with a question? Have you invited the readers of your book to interact with you on your website? Have you given your reader a reason to visit your website by providing some incentive, like a white paper, template, or checklist that would be of value? Do you provide your email, website, or social media contact information in your writing? It was by doing some “letter to my reader” and “FAQ” writing prompts with my clients that I learned about the need for coaching about becoming reader-centric writers.

Interview your reader. My readers are my clients, and I ask them lots of questions when we meet one on one, in our group coaching sessions, and when we meet for coffee or lunch. I candidly ask for their feedback so that I can continue to make my coaching services more effective.

Ask probing questions of your readers (and clients). What are your biggest challenges? What’s working for you? What isn’t working? Where have you made mistakes? What information have I as the writer shared that has been most helpful or most confusing? Do you agree with my advice?

Hang out with your reader. I’m always looking for ways to be in community with my readers. What conferences do they attend? What publications do they read? What organizations are they members? By attending the National Speakers Association convention last summer I was able to learn that many speakers were writing blogs and had plenty of content, yet had no idea about how to turn that content into a book. By attending that convention, I learned about a need that became my new service offering and my newest book, Blog2Book!

Your writing will be stronger, your content more applicable, and your readers more faithful when you develop strong skills that keep you in touch with your reader. As I share with my authors in The Writers’ Pledge, we exist as writers to serve our readers:

I pledge that I will continue to work so that I gain clarity and focus for my readers, audiences, and clients. Then I can continue to make the world a better place, one word at a time.

[bctt tweet=”Become a reader centric writer.” username=””]

Cathy Fyock is The Business Book Strategist, and works with professionals and thought leaders who want to write a book as a business development strategy. She is the author of Blog2Book: Repurposing Content to Discover the Book You’ve Already Written. She can be reached at Cathy@CathyFyock.com.

 

 

 

Categories
Polishing Your Message

Three Steps to Confident Feedback

Ever ask a friend’s, relative’s or colleague’s opinion on something you’ve written? You wait patiently, trying not to stare, interpreting each facial expression as a sign or clue. Finally a reply, “I like it,” or “It’s good,” is uttered with no additional words following.  You think to yourself, That’s it? That doesn’t help me.

Perhaps on occasion you have been the person responding above not knowing what to say.  You didn’t feel confident offering your thoughts. You’re not an expert or a published author. You still have trouble calling yourself a writer.

Well, “It’s good,” doesn’t say anything.  To a writer the phrase is too vague, too meaningless. He or she is seeking feedback more specific.

Whether asking for feedback or offering feedback, here are three steps to help readers share responses to a draft.

Before you start to read, let go of the pressure to catch every error or mistake. There is a difference between editing/proofreading and reader responses. Don’t be afraid. You are qualified to respond. You are an experienced reader, and writers need to know how their message is being received or interpreted. You are qualified to offer your reaction and thoughts to something you read.

Next, keep it simple. Keep it nice, and remember three things by ReadWriteThink.org:

PQP: Praise-Question-Polish.

Step 1: PRAISE.   Always find something positive to say about the piece you have been asked to read. Perhaps you like a particular phrase or word choice that lingers in your mind after reading, or you like how the writer describes a scene which easily forms in your mind’s eye. Always find something big or small to praise within the work.

question mark

Step 2: QUESTION.  As you read make notes of any questions that enter your mind. Maybe you wonder why the author doesn’t mention something you would expect to be included on the topic, or where the baby was in the scene when the mother went to the store. Any questions while reading can offer insight the author may need to improve or revise the current draft or work.

Step 3: POLISH.   Finally, offer specific ways you think the writer could polish the piece. These comments cannot be too vague. When you offer an idea to polish, the writer cannot be wondering what you mean. He or she needs a starting point or direction to act on your comment. Read-Write-Think suggests three types of comments: vague, general/useful, and specific. Below are examples of each:

Vague:  “Revise the second paragraph.” or “It’s good.”

Useful/general: “shiny engiveI don’t see enough background information or support for your idea.” or “Can you describe the kitchen scene better?”

Specific:  “I like how you give the points to remember, but can you add an example to help readers better understand what you mean?” or “The title doesn’t seem to convey the topic.”

If grammar and mechanics are your strengths, by all means offer comments and corrections. If you think something doesn’t look right, but you are not sure, you may suggest the writer double check a concern. The main thing about “Polish” is to give the writer a starting point or direction to consider changes.

Writers know what they intend to say in the message, but the receiver of the message does not always hear it as intended. If you are asked to offer quick feedback on a draft, just remember PQP. You can always find something positive to say, did you have any questions, and offer a specific comment the writer may consider to polish the piece.

You don’t have to be an expert or published author to provide helpful feedback to a writer. And as a writer, what you do with the feedback is entirely up to you. Some suggestions will spur new ideas, and some will lead to a dead end and remain left behind.  Nonetheless, diverse readers, diverse backgrounds, and diverse worldviews will encourage your message to be received differently. Stay focused on your message and meaning, use feedback to clarify and polish, then send your message out trusting the Holy Spirit to handle the rest.

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Source acknowledged:  www.readwritethink.org,

ReadWriteThink.org is a nonprofit website maintained by the International Literacy Association and the National Council of Teachers of English, with support from the Verizon Foundation.”

Image Credits: Colin Harris, Dave Wilson   https://www.flickr.com/photos/