Critique Group: It's Not Just About Critiques

    Does your critique group do more than critique? Has your writing improved since you've been a member? If you answered "no" to both of these questions then maybe your group ought to consider taking a class together.

     "Too expensive," you say? It doesn't have to be. Let me explain.

     The gals in my critique group and I are very serious about our writing. We welcome what we laughingly call "brutal" critiques, not because we like to be cruel, but because we all want our ability to craft a good story to grow, so we're honest, straight-forward and we don't mince words.

     Three years ago we decided to enrich our group beyond critiques. Instead of one critique partner sharing a great book on craft, we decided to learn together. We all purchased copies of Ursula LeGuin's book, Steering the Craft: Exercises and Discussions on Story Writing for the Lone Naviagator or Mutinous Crew, read it chapter by chapter, and completed and discussed the exercises. 

I must admit, I was not happy with the suggestion of studying the book, at first, but as we worked our way though the lessons, I could tell that my writing improved. We all felt it. So it was only logical that we would find another book or class or workshop to study when we finished Steering the Craft.  

     We were intrigued when one of the partners found a course available on DVD from www.greatcourses.com called, Building Great Sentences: Exploring the Writer's Craft, given by Professor Brooks Landon, Professor of English, Collegiate Fellow and Director of the General Education Literature Program at the University of Iowa.

    Could it really be true? Twenty four lectures with activities on building sentences? Sounds boring, right? Well it might have been if we hadn't done it together. Even so, one critique partner read the lecture each week unable to endure the DVD.

     Professor Landon loves long sentences. He points out that many feel long sentences are bad, but in his opinion, "a long sentence isn't bad because it's long, it's bad because it's bad." He lectured about cumulative sentences in all forms, the rhythm of cumulative syntax, coordinate cumulative sentences, subordinate and mixed cumulatives, cumulative syntax to create suspense, balanced sentences and balanced forms, just to mention a few.

     We painstakingly went through each exercise stretching the course out over a two year span and little by little the quality of our sentences grew. Whether cumulative sentences eventually show up in our writing remains to be seen. But it's safe to say, that after 24 lectures on building great sentences, we're all much more aware of how we write and what we write.

     Will we find something else to study? Most likely, because our critique group is about more than critiques.

     How does your critique group study the craft of writing?

     Read more about critique groups in Kristin Lamb's latest post, Franken-Novel, Perfectionism & The Dark Side of Critique Groups, http://tinyurl.com/o2jpa4q

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MEMOIRS: Why Every Writer Should Write One!

     A recent blog by one of my critique partners, Gretchen Griffith, prompted me to finish this blog, something I started writing a few weeks ago. In her blog, Gretchen talks about old cards found while cleaning out her great-grandfather’s house. Check it out here http://tinyurl.com/nxh22mc.

     Gretchen's blog made me wonder what, if anything, will our great-grandchildren discover about our lives? In this tear-them-down, throw-away world will there even be a house to go through? Or worse yet, will those discs were putting all our photos on even be viewable on the technology of the day? Surely the technology we used to save them all will be a laughable joke, obsolete in our great-grandchildren’s lives.

     This is why I think it’s important for ALL writers to hunker down and write a memoir. Capture all those family stories that you've been told; interview those great aunts, grandparents and great-grandparents, if you’re fortunate enough to still have them in your life. Sit down with that one family member who holds all the stories in their head. You know--the one you always turn to when trying to figure out who belongs to whom.

     My mother was that person in our family. But, I didn't realize it until she was gone. Suddenly, my go-to person for family lore and information was no longer with me. Gone were the stories and family connections of near and distant relations.

     "Why do you have to write it?" you ask. Because if you’re a writer, you have all the skills to get it done. In addition, your descendants will be fascinated with the idea that you were a writer. Trust me. They will be, even if that novel you've written never hits the Best Seller List, or even gets published. I guarantee that at least one of your descendants will want to know more, wish they knew more about who you were, what and why you wrote?

     Memoirs come in all shapes and sizes. They can be about one event in your life or a relative’s life or a total life history. They can be general or specific. They might be a collection of stories from different relatives. You’re the writer. You get to decide.

     You don’t have to stop your other writing to write a memoir. Just start collecting, capturing if you will, some thoughts and ideas

1. Print out your thoughts and file in a folder, a real hands-on manila folder that fits in a file cabinet someone can open later.
2. Each holiday, write down what happened, the funny stuff and even the not so funny things.
3. Ask questions and begin to collect the gems you’re told. 
4. Record your personal memories of school, entertainment, daily lives back when you were a child. 
5. When a memory surfaces, jot a few notes, names and places,  and file it.
6.  Remember to include feelings, especially with your own  memories.
7.  Capture stories of life-altering events such as War and  depression and death and disease. 
8.  Show the courage exhibited by those who lived it. 
9.  Get a digital recorder and sit down with your elderly    relatives before it’s too late. Once they’re gone, the stories are  lost forever. 

     You think you’ll remember the specifics of events and you might, but details fade with time. Jot them down now so you have them later when you’re ready to put something together.

     I had the pleasure of writing two memoirs of Army Reserve nurses who served in the Persian Gulf War. For both of these gals, the experience was life-altering, but I can guarantee you they would not be able to remember the day-to-day struggle they experienced if it hadn't been captured in their books.

     I believe a memoir should be true and honest capturing the ups and downs of life. You don’t want to upset family members by dwelling on he-said she-said things, but it will be important for those who come after to know that you persevered and grew and survived the challenges of life.

     As much as technology and daily life will change in the future, one thing will not change; people will continue to have joys and sorrows, life-altering experiences and challenges to over-come. And knowing that relations in the past, great-grandparents or great aunts and uncles, struggled and overcame despite enormous odds, will inspire future generations to never give up.

     So capture those memoirs that only you can write. You’re a writer. Do it for your family. Write the memoir only you can write!

PS: No, I haven't written my own yet, but I've been collecting stories and memories to pull out of a file when I'm ready. 

     What stories do you have to tell? 

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     Two memoirs written by Sandra Warren for others are: When Duty Called: Even Grandma Had To Go and Hidden Casualties: Battles On The Home Front. 

     Check out all Sandra Warren's books at www.arliebooks.com  

Does Your Critique Group Coddle or Mentor?

Is your critique group helping you become a better writer or just patting you on the back? 

Each of us has to decide what we want from a critique group but attending one that doesn't allow negative comments, only positives, seems counter-productive. 

If you want folks to love your manuscript, call your relatives. 

If you want to grow in your craft, find writers who you admire and ask them for a "brutal" analysis of your work. Yes, I did say "brutal." 

Perhaps it will help if I define a few things. Let me start with some definitions from Webster's New World Dictionary:  

Critique: a critical analysis or evaluation of a subject, situation, literary work, etc. 

Criticize: to analyze and judge as a critic. 

Criticism: the act of making judgements; analysis of qualities and evaluation of comparative worth; esp. the critical consideration and judgement of literary or artistic work.  

Brutal: plain and direct although distressing in effect. I would add, honest, painfully honest to this definition. 

Nowhere in the definitions did you find the word, coddle or pat-on-the back or ego stroking. That's not to say we don't need to hear what inspired or tickled someones funny bone or delighted one of our critique partners. Of course we do. Analyzing and evaluating do have a positive side. 

It may just be the delivery of the negative aspects of the above words that get us off track; the act of disapproval, censure, finding fault. Rare is the person who can deliver a negative comment in a positive way, but that's what we as writers need. 

    WE NEED NEGATIVE COMMENTS DELIVERED 
                   IN POSITIVE WAYS! 

We need to know where the holes are, what doesn't make sense, when we've used the same word too many times, when were telling not showing, when point-of-view changes mid-stream, when we've used too many adjectives, when the story doesn't flow, when the character gets off track, when situations don't advance the story. And we need examples for clarification of suggestions. 

Positive comments alone cannot address these needs. Only an honest, straight-forward, pick-it-apart analysis and discussion can. 

Writers should welcome honest, brutal critiques with open arms. I'd be lying if I said it wouldn't hurt or make you stop writing for a day or two. It might. But in the long run, you'll be able to discern the things that need changing and the things you want to keep the same and you'll see your manuscript improve.   

I am in a brutal critique group and I love it. Thanks to my SOUP SISTERS, I've eliminated whole chapters because, "although written well, it didn't advance the story." I've changed titles and character actions because, "your character wouldn't do that, that way." There were days I've had to put the critique aside until I could take the emotion out of it and look at it intellectually for the gems, the suggestions that would make my story better. 

Here are some suggestions for making your critique group critique: 

1. Find writers you admire. 
2. Brainstorm critique goals and expectations.
3. Study the Craft of writing: 
4. For large meeting size critique groups: Make a poster of the Key Components of a Good Story; maybe 4 points to look for in each story. and use this as a guide for each critique.  
     a.What is the story arc?
     b. Too many adjectives?
     c. Over use of a word?
     d. Does the story flow? 
     e. Does the child solve the problem? 
     f.  Does the child fail a couple of times before solving the problem? 
     g. Is each failure worse than the last? 
5. Give suggestions for improvement.

If your critique group loves everything you write, then maybe it's not the group for you. Even great writers get edited before publication. Keep in mind that the harder your critique group is on the elements in your manuscript now, the easier it will be when the publication edits come through. It might even make the difference between a rejection and an acceptance.  

A good critique group can make your manuscript shine and make you a better writer. 

How does your critique group stack up? 

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Congratulations to Carol Baldwin for winning a copy of If I Were A Table, for commenting on my last blog. 

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For publications by Sandra Warren visit www.sandrawarren.com or www.arliebooks.com 






       

35 Years and Counting: Small Publishers Rock!

     Thirty-five years ago my first book, If I Were A Road, was published by a small educational publisher. Five years later, when sales did not meet the growing publisher's new Sales Standards, the book, along with two additions to the series, If I Were A Table and The Great Bridge Lowering, were cancelled and the rights returned to me.

 Within a short period of time I found another small educational publisher who picked them up and has been selling them steadily for over twenty-eight years. Now, I have to be honest and say all those years have not been rosey. I had to suffer through twelve years with unattractive black & white covers before the publisher began to do colored covers but eventually, the original beautiful four-color covers were returned. Then, the publisher went through Chapter 11 bankruptcy and reorganization during which their reputation tanked and royalties were not paid.  By then I had seven books with the publisher and lacked the financial ability to buy back the rights. Once the new company was up and running, royalties were caught up and they continued to sell my books.

 Last week, I was notified that the first book in the series, If I Were A Road, is on the schedule to be reformatted into an iBook. I am thrilled, of course, and amazed and truly grateful.

     For this kind of longevity a book has to have more than loyalty behind it. It has to be relevant and timely, especially in the educational market. This series of open-ended story books with activities that teach creative thinking, was ahead of it's time when the Whole Language Movement became popular in schools and with homeschooling advocates, as well, in the 1980's, and continues to meet current educational standards especially those proposed in The Common Core.

     Through this experience I've learned that loyalty to these books, now spanning close to thirty years with the current publisher, would only have happened with a large publisher if my book had been dubbed a classic.

     So, when you're looking for a publisher for that manuscript you just had to write, don't discount the little guys. You too could be looking back at a thirty-five year run.

     Small publishers rock!

     What has you experience been with small publishers?


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     WIN an autographed copy of If I Were A Table! 
      The names of the first ten folks who leave a comment will be put into a hat to win a copy of  If I Were A Table. (If I Were A Road, is currently being reprinted.)

     To learn more about the If I Were...series go to http://www.arliebooks.com/educational.htm
     To learn more about books written by Sandra Warren go to      www.sandrawarren.com   or
     www.arliebooks.com 


   

   

Write for the LOVE of it!

     Every author, whether a first timer or seasoned, has dreams of earning a living as a writer, traveling the globe, paying off bills, sending kids to college or putting that addition on the house with earned royalties. It's a lofty dream but one only a small percentage of writers experience.

     Nothing I've seen explains the financial aspects of being an author more thoroughly than a recent post written by Jen Laughran, about making money as a writer, originally shared in a post from SCBWI (Society of Children's Book Writers and Illustrators) and shared by author Laurie Edwards. It impressed me so much I felt I should share it on my blog.

http://literaticat.blogspot.com/2015/02/real-talk-ix-figure-book-deal.html

     I often meet newly published writers who seem to have no idea of the financial responsibilities being published demands. Although the above link talks specifically about book advances, what is said about paying taxes, Income, Personal Property and Sales, is relevant whether you receive an advance or not.

     The sobering, bubble bursting, dream squashing reality expressed in the post is important to heed.

     More than ever you need to write for the love of writing. I believe when you do that, the money will follow, eventually.

When The Story GRABS ON And Won't Let Go!

     Why is it that one story will grab your right from the beginning and another, although just as enjoyable, may not engage you until part way through? Is it the words? The characterizations? The story? The answer is not that simple.

     When, where, and if a story grabs a reader is a very subjective thing. A writer cannot predict a reader’s likes and dislikes or know where the reader is emotionally when they pick up the writer’s book. It’s safe to say that it won’t matter how good the story is if the writing isn’t up to snuff. So the answer, if there is one, is found somewhere in the middle of where good story, good writing and good characterizations meet up with the preferences and the mental and emotional state of the reader; nebulous at best.

     I’d been enjoying Comfort, a wonderful middle-grade novel written by Joyce Moyer Hostetter, a chapter or two at a time, stretching out the delight, until I reached Chapter 29. That’s when the words grabbed me and wouldn’t let go. That’s not to say there was anything wrong with the first 28 chapters, I did say I’d been enjoying the story, but something that happened in Chapter 29 made me sit down, first thing in the morning, when I didn't have time, and read it to the end.

     This experience got me to thinking about the manuscripts and books I’ve written. Has a reader ever felt that way about my work? Has anything, any word or character or situation buried in the chapters of a manuscript a Beta reader is currently pouring through, caught her attention? Is she laboring through it or savoring each word? And what about the agent who asked to see it? Agents reject quickly, right, one page and they can already tell if they like your writing style and your story? Has the agent even opened the requested email yet? Is she so engrossed that she’s shared it with colleagues and is putting a contract together? I can only hope.

     I've enjoyed many books without pulling an all-nighter. But let’s face it, if I spend five plus years of my life writing the next great American novel, I want to hear someone say, “The story grabbed me and I couldn't put it down.” That's what all writers want to hear, right? 

     What story or stories have your read recently that grabbed you? Can you put your finger on what made the difference?  I’d love to hear from you.

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Sandra’s adult novel in waiting is called, They Called Me Blue, the story of two brothers whose lives are changed forever when one disappears on the last Orphan Train to leave New York in 1929, and the other spends the next fifty years of his life searching for him. 

Two biographies written by Sandra Warren about nurses who served in the Persian Gulf War, When Duty Called: Even Grandma Had to Go and Hidden Casualties: Battles On The Home Front, are said to have those, "can't put it down," qualities. 

www.sandrawarren.com 

sandra@arliebooks.com 

Bear Burgers = Finishing A Novel

     I had bear sausage for breakfast the other day and bear burgers for dinner, compliments of a daughter who migrated to Alaska over a decade ago to seek adventure in the wild and in the classrooms of the Valdez school system. She's embraced the lifestyle. She seldom eats domestic meat. There's no need. She, her husband, son and daughter bring in all the salmon, halibut, shrimp, moose, caribou and bear they could ever consume.
    You might wonder where this is all leading and what bear burgers have to do with writing? Well hold onto your stuffed Smokey the Bear toys, I'm getting there.
      While standing at the stove cooking up the bear sausages, I was contemplating the novel I'd just finished. As I flipped sausages, the smell wafting through the house, my mind wandered back three years earlier when I thought my novel was finished once before and I wondered, was it really finished this time around?
     Time got away from me while I was cooking, my mind on the novel not on what I was flipping. So imagine my surprise when I looked down at what I thought might be overcooked, near burnt burgers to see the meat still red, as red as can be, fresh out of the package red, raw meat red.
     Were my eyes deceiving me? I looked at the clock and back at the pan, surely they'd been cooking long enough, but had they? They didn't look done. How was I to know?
     Okay, now I think you can guess my point.
     Three years ago, I thought my novel was finished, would have sworn it was, but it wasn't, no where near. I didn't know it then. Fortunately for me, an agent liked the premise and took the time to tell me exactly where improvements were needed. I could have chalked her comments up as only one agent's opinion, but I didn't. I am serious about my writing and I want it to be the best it can be, so I listened.
     Now, three years later, it's done, at least ready, really ready for submission. How do I know? I know because during the last three years while revising, I've also been honing my novel writing skills, listening and discussing pieces parts of the manuscript as I've gone along, added and enhanced and cut multiple passages and scenes and words and pages I was in love with. I know because when I re-read it, I'm no longer stopping to make changes along the way. It's ready to submit and I'm excited.
     Now back to the almost burnt bear sausages. They were done, they just didn't look done. Apparently, unlike domestic meat, bear meat does not brown when cooked. How did they taste? Well, let's just say they'll take some getting used to. I didn't dislike them I just didn't love them. Bear burgers served with all the typical hamburger trimmings was tastier to me than the breakfast sausages. Will I have them again? Probably. My daughter is still in Alaska living and loving the lifestyle and sharing the bounty.
     What are you markers for knowing when your manuscript is complete? I'd love to hear from you.