You: “Hey, do these sentences look okay? Could you take a look? They’re from a work in progress:

The Blue Arrow Gallery is a newish silver box with large windows in the front. It sits a half dozen blocks from downtown on the edge of the busy, buzzy restaurant scene of hip River North.

What do you think? Thank you so much.”

++

Sharing a few sentences (with anyone) is low stakes. Right? You’re happy to tweak anything that doesn’t seem to work.

Here, the possible changes are few. Should ‘large’ be more specific? Should ‘half-dozen’ be ‘six’? Should you add ‘neighborhood’ after ‘River North’?

But when it comes to taking feedback on the first draft of your precious novel and its diamond prose, everything changes. You’ve spent a year or two writing. You have developed a full cast of engaging characters. You’ve crafted original scenes. Your action sequences rock. The love scenes aren’t hokey. The draft feels personal, edgy, and interesting all at once.

But, are you right? Or delusional?  

Before you head out to seek an agent or buttonhole an editor at a pitch fest, you want feedback from a few beta readers. You need feedback, you must have feedback. Now, the stakes are much higher. Negative comments mean rewriting. And work. How will you know what constitutes a legitimate analysis? How will you make sense of a small mountain of suggestions? Like every other aspect of writing fiction, taking feedback is something you can get better at doing. It’s another muscle to discover, develop—and then flex.

How?

Well, first, know that you’re not sharing your treasured work with readers because you were told this was part of the process and you wanted to be able to tell your Dream Agent that your early readers were all moved to tears (or whatever the case may be). This is not a check-the-box step.

No.

You are sharing your novel with beta readers because you want to know if the story you’ve created delivers the emotional punches you wanted to land. You want to know ways to make it better—sleeker, cleaner, tighter, whatever the case might be.

You want to know if the clock you’ve built tells the right time.  

But you bristle at the idea that you might have to actually listen to what these readers have to say. You can already feel yourself getting defensive. What if your beta readers don’t get what you’re trying to do?

By the way, beta readers? They really should be called alpha readers. You are the writer. Technically, you might be the first reader. But you’re disqualified. Unless you stick the novel in a drawer for a good five years and then come back to it, you’re no good at this important step. Your eyes are too familiar with the words and your writer head knows far too much about what the challenges ahead for your characters.

++

The following is the equivalent of a gym workout to develop that crucial taking feedback muscle:

1.  Read Early Drafts From Other Writers

Once you’ve joined a writing group or assembled your own network of up-and-coming writers, volunteer to read the green, fresh-off-the-presses drafts of novels by your colleagues. Read with care. Read with heart. Read with a critical eye. Read with the same standards you use to write—the same standards that prompt you to dump stale chapters and strike-through clunky dialogue. Read with an eye for character motivation and an ear for prose that snaps and dazzles. Read to get inside the characters on the page and challenge yourself to understand what makes them tick.

And, finally, read with an awareness of why this book is not yet in hardback and zipping its way up the New York Times bestseller list.

Then, form your thoughts on paper. Write three or four pages. Don’t overwhelm. Start with mentioning the things you liked—definitely—then list the issues you struggled with or questioned, and close with some upbeat thoughts about the prospects for the next draft. Offer to follow-up with a telephone conversation or Zoom. Remember—the writer of this novel may have spent a year or two putting the story together. As the first taste-tester in the kitchen, you need to deliver more than “needs more salt.” A colleague has created a work of art. You are going to help make it better. It’s a privilege.

By the third or fourth such beta-reading effort on your part, you will notice you have a different take on your own fresh prose. Cue lightbulb moment.

2.  Join Critique Groups

Same as above, but more organized. And regular. Critique group people swear by critique groups. Every critique group operates with its own rules, systems, and ethos. Some are a tight-knit group of five or six writers who have met weekly for years and years, bringing fresh pages every week to the table.

As a member of a critique group, you get to watch a half-dozen novels blossom all at once. You also have the opportunity to hear how writers think about their works. And, when it’s your turn to discuss your writing, you get the opportunity to articulate your ideas about why your characters do what they do, say what they say, and choose the battles they fight. You also get the opportunity to hear and respond to feedback.

Note: the goal here is not to get better at pretending the feedback doesn’t sting. The goal is to get better at taking feedback.

The goal is to get good at being able to detach yourself from what you’ve created and discuss ideas to improve it—no different than if the book with your name on it was written by another writer.

One big advantage of a critique group is you are getting input as the story goes—and this can be advantageous. Some writers, however, need to finish a whole book before showing the first scene of Chapter 1 to anyone. But every writer should try a critique group at least once. They create tremendous accountability for producing a story—and often a great sense of community. It’s also terrific to have other writers to cheer for as their works progress, as they land an agent, as they launch, and so on.

3.  Review Books

You are reading, right? Reading lots of books in your genre? And lots of others, too?

Writing reviews sharpens your analysis of what works. This should be a habit. Assembling your thoughts in written form, and publishing on a review site or on your personal blog, sharpens your game (much like those college essays forced you to defend a thesis).

This act of writing reviews again sharpens your thought process as you are drawn into a novel or as you watch a novel fall apart. Because you will be recommending or not recommending the book, your radar clicks up to a new level of sensitivity and awareness. You develop tolerance levels and apply them to a whole smattering of fictional elements—and in turn hone your own style without even trying.

Chances are, for the most part, you’ll review books you like. The added side bonus is connecting with writers. You tag them on social media posts with links to your review and you might soon find your virtual network growing in a positive way, even with established writers.  

And soon writers in your network, who appreciate reading your takes on both celebrated and overlooked authors, might hope that you will review their books.

4.  Judge

If asked to judge a writing contest, do it. All the same benefits from 1, 2, and 3 above apply.  

The bottom line?

The feedback loop is an integral part of the writing process. Analyzing the works of others improves your ability to self-edit. To self-criticize. To get better at taking feedback themselves.

So, toast your alpha readers. Appreciate them. Thank them.

Feedback? Bring it on.

Mark Stevens writes the Allison Coil Mystery Series—Antler Dust, Buried by the Roan, Trapline, Lake of Fire and The Melancholy Howl. Trapline won the Colorado Book Award and The Colorado Authors League Award in 2016. Buried by the Roan and Lake of Fire were finalists for the same award. Kirkus Reviews called Lake of Fire “irresistible” and The Melancholy Howl “smart and indelible.” Mark was the 2016 Rocky Mountain Fiction Writers’ Writer of the Year. Mark’s agent (Josh Getzler, HG Literary) is currently representing two novels—one a standalone mystery and one literary novel set in the world of professional baseball. Mark lives in Mancos, Colorado

The post Getting Good at Taking Feedback appeared first on DIY MFA.

Giving critique that is helpful and direct is something you have to practice. Whether you’re working with one critique partner or with a group of writers, or beta-reading a manuscript, these five steps will help you give meaningful feedback. Let’s dive in!

5 steps for giving critique

1. Once you’ve finished the piece you’re supposed to critique, take some time to think about what you just read. Ask yourself the following questions: Was there any moment where you were pulled out of the story? Was the character compelling? Does the piece hit all the major landmarks (i.e., inciting incident, developing conflict, crisis, climax)? Does the character change?
2. Start with a compliment and end with a compliment. Find at least one nice thing to say at the beginning and at the end of your critique. If you’re having trouble finding something nice to say, get really specific.
3. Ask questions. This shows the author you are engaged. Your questions will help the author clarify elements for the reader.
4. Offer suggestions for change. If you think something doesn’t work, give the author suggestions for how they could make it better. Be proactive.
5. Remember, the ultimate goal is to make the piece better. You and the author are working together and on the same team. This is a partnership, not an adversarial face-off.

Link to Episode 16

(Right-click to download.)

If you liked this episode…

Head over to iTunes, leave a review, and subscribe so you’ll be first to know when new episodes are available. Also, if you know anyone who might enjoy this podcast, please share!

Until next week, keep writing and keep being awesome.

The post Episode 16: An Insider’s Guide to Writing Groups Pt.2 appeared first on DIY MFA.

One very important part of your writer’s journey is receiving feedback on your work. A critique group can be an awesome tool to help you strengthen your writing. Two of the top questions I receive on DIY MFA are “How do I find a critique group?” and “What do I do with a critique group once I have one?”

It might seem like a daunting task, to find a group of writers who you can trust to share your work with and get constructive and honest feedback. One of the best ways to find a critique group is to take a class or become part of a writer’s community. This way, you get to “test drive” other people in the class and find other writers that you connect with. In fact, in most MFA programs, critique groups are formed organically because people find that they gravitate toward certain fellow classmates.

3-Step Critique Process for Receiving Critique

Before

• Make sure to submit a “clean” manuscript, as free from typographical errors as possible.
• Submit your work on time and in the correct format
• Don’t preface or excuse your work. Align yourself with your critique partners.
• Remember that you’re all working on the same side.

During

(This part only applies to groups that meet face-to-face.)

• Don’t talk during the critique. Instead, listen intently.
• Don’t defend your work while being critiqued.
• Don’t try to explain why something is the way it is. The work should speak for itself.
• Be open to what your critique partners are telling you.
• Ask questions at the END.
• Don’t cheat and use the question time to defend or excuse your work.

After

• Be nice to yourself. Receiving critical feedback is hard.
• Find a way to take in the feedback all at once, if at all possible.
• No matter what anyone says, remember you get the final say about changes you make to your work.
• Be careful about resubmitting a piece. Receive the critique and then YOU take it from there.

Remember: You are your own best critique partner.

Link to Episode 12

(Right-click to download.)

If you liked this episode…

Head over to iTunes, leave a review, and subscribe so you’ll be first to know when new episodes are available. Also, if you know anyone who might enjoy this podcast, please share!

Until next week, keep writing and keep being awesome.

The post Episode 12: An Insider’s Guide to Writing Groups Pt. 1 appeared first on DIY MFA.

I’ve never been to a pageant, and I’ve never been a mother, but I’d imagine that walking doe-eyed into a fiction critique is a lot like being a pageant mom. You spend months getting your baby all dolled up and drilling her in the box step and jazz hands. Sweating so profusely you waft some of her hair spray on your pits to stay dry, your baby gets up on stage and does her dance perfectly, in tutu and heels and everything. You roar with pride when she rushes shyly offstage.

Then come the backhanded compliments: “She’s cute, for her age group.” “If you could just get her to lose a pound or two, she’d rock that dress.” “That routine is so last year, but if you got a coach she could really shine.”

Do you feel that knee-jerk reaction? That throbbing blister of roiling rage ready to explode and cover everyone (including your story. I mean baby) with goo? Some of you are probably having a knee-jerk reaction right now to the blog. Some of you are clicking away. No, don’t leave! Nooooooooo–

Over the past months, I’ve joined a super awesome critique group. I know how tough it is to hear your baby being ripped apart, but I’m a better writer for it. So never fear! Super-Becca is here (that’s me!) to help you defend against a barrage of critiques and actually get something out of it with these 4 steps.

1. Shut up

People who are bad at taking critique (listen up, self) are going to have to learn to curb that knee-jerk reaction. Does this sound familiar?

“But you missed the whole point of the story! Anyone with any smarts at all would see that this piece is genius, and if you think it needs editing there’s obviously something wrong with you!”

That fight-or-flight response is going to scare your readers into giving you less-than-honest critique, and if you refuse to listen, you’re not going to get any better at your craft.

So bite your tongue. Sit on your hands if you’re afraid they’ll punch the smug know-it-all on the left. Seethe and simmer and force yourself to listen to the critique. No, I’m not letting you ignore the critique, even if it is like swallowing glass shards. You’re a big kid now, not a spoiled baby who gets to hold the gold medal because you whined about it onstage. Pretend, for a moment, you are an open-minded person. Write down what everyone says, no matter how pointless it seems now.

2. Talk to yourself.

While you’re seething with rage, some self-talk might be helpful.

Here are some things you need to realize:

• The critique is of the particular piece, not of you as an author or as a person. If your baby trips over her box step in the Act I finale, that doesn’t make you a bad parent. It just means your kid might need some practice. Same thing with writing.
• Nothing you write is all bad. Sure, there might be a bit of baby fat here and there, but your characters really pop off the page. Or, if you’re like me, your characters’ motivations suck, but at least you’ve got a few interesting twists and turns in your plot. A good critique should focus on the good as well as the not-so-good.
• Be interested in honesty. Thank your readers for it! In college, I had a writing class where everyone was so nervous about offending anyone that they only mentioned the positives and never gave actual critique. And do you know what? Nothing I wrote in that class ever got published, and neither did anyone else’s.
• Everyone has a different opinion. While this is true, that doesn’t mean that differing opinions are wrong (or that you can dismiss differing opinions out of hand). Take everything with a grain of salt. Then (for some of you metaphor-driven people), pinch some of that salt into your pasta, and toss the rest over your shoulder.

3. Take a break

As the author/mommy of your newborn draft, you’re still very close to your words. You remember writing them, and why you wrote them. You remember what the setting smells like. You remember what your characters feel like when they’re inside you (in the spiritual sense, of course).

But that isn’t necessarily how your story is coming across. Especially if you get a lot of negative feedback, you might need to take a breather. Take a walk. Take a road trip. Immerse yourself in a completely different story. This will give you the distance you need to come back and look at your story more objectively.

4. Edit and rewrite.

Read the notes you took during your critique, and feel out if any resonate with you. Cross out the ones that obviously feel wrong—remember, your authorly instinct will usually be right, but try not to cling to your darlings too tightly.

Now read your story again with sparkly-fresh eyes. Those new eyes will invariably catch hiccups that made perfect sense while you were writing them but now just look like a kid failing at the box step (can you tell I was scarred by childhood theatre yet?). Cut everything you can. Rewrite. Check out this article.

You’ll end up with a much cleaner, clearer draft that ensures you’re meeting the needs of your reader.

At the end of the day, you’re still the mother. Father. Author. Whatever. Extended metaphors are overrated, anyway. If you don’t want to change something about your baby/story, that’s fine. But at least give the critiques a fair chance, and now you have actual readers’ impressions of your work. Chances are there is someone in the group who is your target audience. As an author, you need to please yourself first. But then think about making your potential readers happy, hmm?

Check back here in two weeks for the other (more fun) part of critiquing: dishing it out!

Got a question? Tweet me @beccaquibbles with the hashtag #askbecca, email me at becca [at] DIYMFA [dot] com, or just leave a comment below! You could see your question answered right here at Ask Becca!

…………………………….

Rebecca Ann Jordan is a speculative fiction author in San Diego. She recently won Reader’s Choice Best of 2013 for her short story “Promised Land” at Fiction Vortex and has published poetry and fiction in Flapperhouse, Yemassee Magazine, Bravura Literary Journal and more. Becca regularly columns for DIYMFA.com. Quibble with her @beccaquibbles.

The post Ask Becca: The Give and Take of Critique: Part 1 appeared first on DIY MFA.