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Category : Questions from Beginners
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Does a writer need a critique group?
Someone wrote and asked, “As a beginning writer, is it really important I participate in a critique group?”
I highly recommend newer writers join a critique group. Often times at writing conferences I’ll have someone come up to me clutching a manuscript to their chest. “Here,” they whisper, looking around furtively. “It’s my manuscript. It’s fantastic. And no one has ever seen it.”
So I’ll look at them and ask, “And how do you know it’s fantastic?” They invariably answer with something like “I just know” or “people have been encouraging me to write for years” or“my mom loves it.”
Sorry, not good enough. I don’t trust your personal instincts unless you’ve had at least one bestseller, and your mom loves you too much to view your piece objectively. Every writer needs a critique group. New writer or experienced hand, you gain wisdom when you have other writers looking at your work. A critique group offers you an honest appraisal, and provides an on-going learning experience. The best groups have a nice mix of people, so that your group provides you with a variety of experiences, interests, and personalities commenting on your writing. People get together and offer insight into your work, which will help you improve your writing. It also gives you a place to hang out with like-minded folks — other people who also want to be writers. There is support in the group, and a sense of identity. Get thee to a critique group.
Now, at the same time, I’ve had a couple dozen people write to ask a related question: “When do I know it’s time to leave my critique group?”
I suppose it’s time to leave a group when you’ve absorbed what your group has to offer you. This may eventually come when you think you’re experienced enough and confident enough to go it alone — and, in fact, the others in your group
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How do I get the most out of my critique group?
Someone wrote to ask, “How does a critique group work in the real world? What should one of our meetings look like?”
I love this question, since writers are often encouraged to start a group, but don’t have specifics on how to do so. Some thoughts… Let’s say you have a group of four to ten people. You agree to meet once per month, somewhere in the middle of the month. On the first of the month (roughly two weeks before your meeting), everybody submits their work to the other members of the group. All the documents are emailed to one another in a Microsoft Word attachment, double-spaced, 12-point font, with plenty of margin space around the words. You may want to limit the page count to five or ten or even fifteen pages (though I know of one group that asks for a chapter per month, leaving the page count to the individual writer’s notion of what a chapter length should be.) There’s a hard and fast rule that you receive it by the first of the month or you ignore it until next month. So you receive everyone’s writing, print it out, read each one, and edit it. You ask questions. You point out things that aren’t clear. You write comments at the end. You try to be polite but honest. If you really want to be professional, you all use the “track changes” feature to make your comments, so that everything is legible.
Keep in mind that the criticism is of the work, not of the writer. And, as my friend Cecil Murphey likes to say, “Members do not make value judgments — they don’t say ‘this is bad,’ but instead offer suggestions for improving the work.” Participants in a critique group are criticizing your work.They are NOT criticizing you. And on each piece you say at least one nice thing, since everybody needs to hear
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How can I get the most out of a writing conference?
As you begin preparing for this year’s summer conferences, I’d like to suggest you keep ten words in mind…
1. READ. Don’t just show up and wonder who the speakers are. Read the blog of the keynote speakers. Read the books of the workshop teachers. That way, when you get to hear them, you’ll already have a context for their information.
2. RESEARCH. If you’ve signed up to meet with an agent or editor, check out their bio, see what they’ve acquired, and get a feel for the sort of books they like. By doing that, you’ll be much more apt to talk with someone who is a fit for you and your work.
3. ORGANIZE. Before you show up at the conference, look at the schedule and figure out what sessions you’ll be going to, which ones you’ll miss (so that you can share notes later), and when you can take a break to see friends.
4. PRACTICE. When you sit down across from me in order to tell me about your book, it shouldn’t be an off-the-cuff conversation. Practice what you want to say, how you want to describe your work, and what your hook is so that you’ll grab me.
5. GOALS. Ask yourself what your goals are for this year’s conference. Don’t just go with bland hopes. Plan to attend with some specific, measurable goals in mind. Write them down beforehand, so that you can evaluate yourself and your experience after you’re back home.
6. PROJECT. Come to the conference with a book you’re writing firmly in your mind. That way, when you’re listening to a speaker, you can apply the information to the project you’re writing. Even if you later decide to write something else, the fact that you’ve put the techniques into practice will help you improve.
7. NOTE. Don’t just sit there in workshops and nod at the things you agree with. Take
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How can I find a writing mentor?
Mandy wrote to me and noted, “Recently you encouraged all serious writers to find a writing mentor. How does one do this? I’ve been to several writing conferences and am acquainted with some well-known authors, but I’m not sure I’d ever be bold enough to ask one of them.”
Well, my first thought is that you keep in mind what a mentor is: Not someone perfect. Not someone on the top of the bestseller lists. Not someone who is necessarily your best friend in the business. A mentor is someone who is a bit further down the path from yourself — a writer with a bit more experience in the field, who can offer you some wise advice and direction, especially when you are trying to grow or you are faced with a major decision. Would you benefit from having that sort of relationship with another writer?
If so, I’d suggest that it’s tough to walk up to someone you don’t know well and ask, “Will you commit to being my friend?” Most of us would probably find that a bit odd. So focus on one of those experienced authors you already know, perhaps someone you’ve met and enjoyed at a conference, and think about what you’ll say to him or her.
By using the framework of “talking to a friend,” consider going to that experienced author you’re friendly with and talking with him or her about mentoring. What are their thoughts? Who mentored them? Take the time to write down what you’d like to receive from a mentor (a chance to talk things over? career guidance? some wisdom when faced with big questions? suggestions for writing exercises?), so that it’s clear in your own mind what your expectations are. If you don’t know what you want, it’s tough to explain it to someone else.
Approach the person in a one-on-one setting sometime and simply say, “I have a favor
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A question about getting started…
Tanya took a look at our corporate web site (www.MacGregorLiterary.com), noticed that I tend to prefer “established authors,” and asked two questions… “How do you define an established author? And is it better for a ‘non-established’ author to work with a small publishing house, or to keep pounding on doors to find an agent?”
The answer to your first question is fairly fluid — an established author is someone who has done some writing and publishing. How much will qualify them as “established” is left to the eye of the beholder, I guess. But so you know, most of the authors I represent are people I met face-to-face, liked personally, and came away impressed with their writing — OR they were referrals from current clients. It’s just the way I’ve built my business.
As to your second question, I’d suggest there’s not really a right answer. Many authors (including me) got started by publishing with magazines, newsletters, and smaller publishing houses. Eventually some of us got noticed and moved to a bigger stage. But other authors kept working until they found an agent who could help them land a book deal. Either choice is equally hard and will result in you being frustrated and wanting to quit this stupid business… until you have some success and people start telling you what a wonderful writer you are, and fawning over you as though you were some sort of genius. [Note: When that happens, accept it, but laugh. You’re not really a genius…but if somebody else wants to think of you that way, so what?] There’s no one plan that will work for everyone, and since I don’t know you, I can’t recommend one path or the other, Tanya. Both can work.
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What do you need to know about writing contests?
Danielle wrote to say, “I know there are contests going on at this summer’s conferences. What contest advice can you give us?”
I’ve made my living in publishing for about thirty years now, which means that sometimes I get asked to be a contest judge for a writers’ conference or contest. I don’t generally enjoy it — not because I don’t like participating, but because far too many newer writers have a bit too much confidence in their own work. While I love teaching younger writers to help them improve, I hate having to explain why I ranked one author a “ten” and another author a “two.” In my view, it should be obvious.
Things like voice and theme and clarity and focus stand out in some writers’ works. Their use of words and clarity in point-of-view are crisp and interesting. The characterization is strong, the story holds my interest, and the overall style makes the piece something I want to read. But that’s what a contest judge does — make evaluations of writing, in order to determine which pieces are strong and which are not. I’d encourage you to view a contest as a learning opportunity, rather than simply a competition that is won or lost.
So, in case you’re one of those people who may get discouraged over not winning every trophy in sight, let me offer some thoughts…
1. If you only want to hear good things said about you, buy a round of drinks.
2. If you only want to hear good things said about your writing, show it to your mom.
3. If hearing something critical about your work will crush you, consider a career change. (Okay…maybe that sounds too harsh. But to be a writer is to be a learner — all of us are seeking to improve, and that means all of us have to hear another criticize our work. There’s no getting
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How can I find time to write?
Okay, I’m back from my vacation (a bit of free wisdom: Given the chance, move to Kauai), and I realize I need to catch up on a BUNCH of questions from people. This one seemed appropriate — Denise wrote to say: “I used to work as a waitress. After my shift, I would go home, cozy up to my laptop, and write. Writing became a sanctuary, and I filled pages effortlessly. Now I work at a busy office job, so I spend the better part of my day staring at a computer screen and contracting carpal tunnel. I come home from looking at other people’s writing all day, and I don’t have any energy left to spend on my own writing. You’ve just had a vacation, so you know what it’s like to have free time to do what you want. What advice would you give a writer who seems to spend everything on other people’s projects?”
You know, I went through that same thing, Denise, and had to ask some writing buddies what to do. They gave me advice that I hated…but it worked. The suggestion? Get up early. Spend two hours on your OWN work before heading to the office to work on somebody ELSE’s stuff. That way you’re mentally charged when you do your own writing.
So I did. And trust me, it was hard. I’m not a morning person. But I got up early, before my kids were awake, and wrote for two hours every day. EVERY day. Then I’d leave for my office. I hated it, and wanted to take the first hour to make coffee, look at headlines, whine to friends in emails… but eventually I started writing. And with the combination of no interruptions and a clear mind, I finished my book in about four months. No kidding. Two hours of focused writing time to try and finish a thousand words per day.
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More on how to make money with your writing…
Continuing the thoughts about making a living at writing…
4. The most overlooked area of writing is still the ‘zine market. Especially special market magazines — and there is basically a magazine or e-zine about anything you'd ever want to study. I still do some writing for The Linking Ring (the magazine for the International Brotherhood of Magicians), and have done work for numerous other magazines, e-zines, and newsletters. But don't start sending things indiscriminately. Check out a copy of the magazine at Barnes and Noble, then go to the mag's website and you'll find directions on how to submit, how many words, required focus, etc.
There are two keys to success in writing for 'zines: (a) Know the magazine so that you understand the readership, focus, and editorial tone; and (b) Know the editor to approach, and how to approach him or her. If you're not familiar with the 'zine, spend some time getting to know the tone and approach they use, so you can shape your writing to best fit their expectations. Remember that magazine editors are like everybody else — if they like your work and find you easy to deal with, they'll soon be using you on a regular basis.
5. You might be able to go to your local newspaper and try to get a column. Or go in and suggest a focus for a column, like "gardening" or "farm life" or "parenting" or "travel." Make it unique, think it through, and give the editor a reason to say yes to the idea. Many book writers I've worked with over the years have found a regular column in a newspaper is helpful because it helps get them writing regularly, and helps them build a readership.
6. Keep in mind that every piece of ephemeral or periodical literature is a monster that must be fed. All of us who started in magazines or newspapers know the
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More on how to make money with your writing…
Continuing the thoughts about making a living at writing…
4. The most overlooked area of writing is still the ‘zine market. Especially special market magazines — and there is basically a magazine or e-zine about anything you'd ever want to study. I still do some writing for The Linking Ring (the magazine for the International Brotherhood of Magicians), and have done work for numerous other magazines, e-zines, and newsletters. But don't start sending things indiscriminately. Check out a copy of the magazine at Barnes and Noble, then go to the mag's website and you'll find directions on how to submit, how many words, required focus, etc.
There are two keys to success in writing for 'zines: (a) Know the magazine so that you understand the readership, focus, and editorial tone; and (b) Know the editor to approach, and how to approach him or her. If you're not familiar with the 'zine, spend some time getting to know the tone and approach they use, so you can shape your writing to best fit their expectations. Remember that magazine editors are like everybody else — if they like your work and find you easy to deal with, they'll soon be using you on a regular basis.
5. You might be able to go to your local newspaper and try to get a column. Or go in and suggest a focus for a column, like "gardening" or "farm life" or "parenting" or "travel." Make it unique, think it through, and give the editor a reason to say yes to the idea. Many book writers I've worked with over the years have found a regular column in a newspaper is helpful because it helps get them writing regularly, and helps them build a readership.
6. Keep in mind that every piece of ephemeral or periodical literature is a monster that must be fed. All of us who started in magazines or newspapers know the
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How can I make money with my writing?
Pam wrote to ask, “Can you say more about the whole freelance writing concept? I’m looking for practical ideas to help me make a living.”
A couple thoughts from a guy who would basically write for anybody, so long as they paid me…
1. If you live near a major city, check and see what organizations are located near you. Most nonprofit organizations have a magazine, newsletter, or web site, and they all need content. Check them out, find out what sort of articles, interviews, and sidebars they use, then offer them some material. I sold hundreds of things to companies and nonprofit organizations when I was free-lancing. Nonprofits have to stay in touch with donors, and that means somebody has to write their copy for them. (They also need report writers, researchers, and grant writers, if you want to check into those opportunities.)
2. Drive down any of your streets, and you'll see businesses on both sides. Nearly every one of those businesses have a website, and they all need content. That's how the internet has changed business — every mom-and-pop shop now has the opportunity to hawk its wares worldwide via the web. And think about the changes in websites over the past few years. You used to see something that resembled a highway billboard — a business name, phone, address, and slogan ["Don's Plumbing of Portland — Great Service, Low Rates. Call Today — 555-1234"].
Now if you go to that site, you'll find an introduction to the business, a history of the company, a bio of each employee (complete with photos), a self-help section to fix your own plumbing problems, a link to order specialized plumbing parts, a section on the history of indoor plumbing, and an ask-the-expert compendium. And, of course, somebody has to write all that stuff. Most businesses do it themselves (until they figure out what's they've written is awful, since they are plumbers