Have you ever gotten feedback from someone who you respect, saying they hated your work? They liked the idea, but think you should have done it a completely different way?
No? Just me?
Recently, I submitted a couple of short stories to different markets, but after a pair of quick rejections, I sent them to friends for another look. Most of the feedback was along the same lines, so I looked at what I could fix and what I couldn’t.
But for the reader who hated the story? We sat down and talked about what they did and didn’t like about the story.
The real issue was the set-up — it was a horror/suspense sort of story and I was giving away too much too soon.
That was entirely in line with other feedback I’d had, although more precise in what parts worked, versus what parts should be changed.
So? I sat on that for a week. I pouted. I thought. I considered if these were even changes I wanted to make.
But my knee-jerk reaction (for once) wasn’t “they don’t get my story”, it was more of a, “I don’t wanna!” mixed with “How do I do that? While making sure the ending is still properly supported” (i.e. doesn’t seem to come out of nowhere).
Last night? I sat down to start on the changes, taking out the heavy foreshadowing (easily found in italics, on their own lines). And replaced those instances with more subtle hints at what lay ahead.
Fifteen minutes later? I was done.
I still need to do a re-read, to make sure the updates are smooth. I still need a second set of eyes (maybe fresh ones to make sure the ending wasn’t too abrupt), but this huge change? That seemed like massive structural issue?
With a few short line changes, I fixed it.
Remember when setting something up in your writing, be it foreshadowing, backstory, world-building, or more — oftentimes, less is more. You only need enough to spark the imagination and flesh out the world. Not enough to slow the story.
Have you ever been intimidated by a suggested change you agreed probably needed to happen in your work?
Were you ever surprised at how little you needed to change your story to make a completely different impression on the reader?
As January firmly establishes itself, I’m finally ready to talk about what 2020 is going to look like for me.
Last year was intended to be a year of reading, revision, and reflection.
Thusly, I listed my goals:
As I shared last week, I did great on everything on that list — except my revisions and querying — you know, the parts of the list that actually get me closer to publication. Does anyone else see the problem here?
This year? This year my focus is on revisions and querying/submitting.
As always, I like to set SMART goals –
Specific – you’ll see numbers and dates!
Measurable – you’ll still see numbers and dates
Achievable – I set goals for things I have influence over. I’m aiming for an agent, getting something published, but unless I self-pub, I have no control over that.
Relevant – I’m keeping my exercise goals and healthy eating off this post. These are all about my writing, the relevance should be clear.
Time-sensitive – Obviously, these are intended to be completed in 2020, but some items may have specific dates associated.
So? Let’s take last year’s list and put it in a new priority order.
Last year’s goal of revising 3 full manuscripts was… ambitious. I clearly was thinking more about what it takes for me to edit (clean up a draft) than about what it takes to get feedback from others, integrate it, and polish the draft till it comes out in my voice.
The manuscript I had ready for querying last year is in the middle of revisions with my wonderful mentor. But? The mentorship officially ended last April, and, although she generously volunteered to keep at it with me, she has paying work that, of course, comes first. So? We’re working through my novel 30 pages at a time.
My hope is to have the revisions done by the end of May, when I hit Balticon. But, life happens. So, what can I do to speed up the process on my end? Make sure that the next 30 page chunk is as ready to go as I can make it before I get feedback from the previous section.
I’m cutting a secondary character’s role in the last 3rd of the journey, and changing the nature of the last leg of the journey quite a bit, so I already know a large part of the plotting changes. Plus, my mentor keeps reminding me to add visuals. As I’ve said before, I worry about what’s in the character’s head and the action. I forget people want to see the world itself. So, that’s my revision priority.
But, of course, there’s going to be some downtime.
To fill that in, I’ve been nudging my alpha reader who has my middle-grade contemporary fantasy (the school play story) and should hear back in the next week or so.
Also? Last year also included writing some short stories and some poetry. Between revising my middle-grade story and getting those shorts and poetry ready for publication, I’ve got a lot to work on.
2. Querying & Submitting
If you haven’t tried to get your work published before, this item might seem confusing. What’s the difference?
Querying is a intro-letter and first chapter or so that you send to a literary agent. Once you have an agent, they often make you do revisions, before submitting your work to a publishing house.
Why do you need an agent? There are many publishing houses that do not accept unagented work. Agents understand what your contract should look like and what is negotiable. Plus? The agent’s job is to know the market — and thus know what your book needs in order to best sell it — and to whom. Typically, you query 5-10 agents at a time.
Submitting a manuscript/short story/poem is what you can do to any editor/publisher who is open to it: publishers (who are open to unagented work), literary magazines, anthologies, etc.
When you’re sending a cover letter and your story to the place that will actually print/publish the piece, it’s called a submission. Typically, submissions are exclusive (unless the guidelines state otherwise), so you have to wait to hear back before you can send to another publisher.
This year, for my short stories and poetry, I’m going to try to get at least 5 stories ready for publication and submit them to at least 10 markets. At least half of those submissions should be before July, just to make sure I don’t forget to put myself out there.
With you, I’m finding an audience and, I hope, creating a community. You are the people whose queries I help polish as you look for an agent, whose books I add to my massive to-read pile, the people I feature in my Author Spotlights. Blogging puts me out there, keeps me accountable, and gives me a way to give back to the community.
Plus? I haven’t missed a week on my blog since February of 2016 (although, I have done reruns) nor a vlog-post since I started vlogging on June 27, 2017. So? I’d hate to break my posting streak! Thus, I’ll continue putting out a new blog/vlog every Thursday with writing tips or writerly musings.
I’m already off to a great start with this, but when I have them lined up, I’ll also be sharing Author Spotlights or Query Corners on Tuesdays.
I’m thinking of adding some Authortube videos of my massive to-read pile, or maybe an occasional brief weekly check-in since those were popular during NaNo. I just need to find a time that works every week for those, so I can schedule them in advance and make them interactive.
I did great on this one last year, but I’m not gonna look a gift horse in the mouth. I had a lot of travel, and managed to hit 41 books, but there’s no guarantee this year will as generous. I even managed to read a decent amount of physical books — but a lot of those were new or re-reads. Not as many from my to-read pile as I’d like to admit.
So? I’m keeping my goal from last year of reading 26 books – a little more than two a month. This time? At least 10 of them should be physical and ALREADY on my bookshelf.
So far? I finished a short story collection I bought over the holidays AND read a book that’s been with me since before I moved. Not a bad start!
Yet again, writing is so far down my list!
I can hear your thoughts, your concerns. What’s wrong, Morgan? I thought this was your writing blog. Why isn’t this more writing focused? Do you want to be a blogger/vlogger more than a writer?
Well, first? Rewriting IS writing, and revisions are tops on my list. The goal is publication and I’ve got 4 manuscripts, 21+ short stories, and 30+ poems just waiting for a home.
More writing right now just means a larger backlog of things to be polished.
But! Never fear, I will be doing OctPoWriMo again — writing a poem a day for all of October. And then NaNoWriMo — writing 50,000 words in November. If I’m really stumped in November, I’ll rebel and revise either 5 shorts or a full manuscript. But, knowing me, I’ll probably make new words.
6. Beta Readers
I’ll be reaching out to beta readers as I wrap up my revisions on my middle grade novel, hopefully before August. Last year’s goals of having revisions of two different manuscripts done by May AND July were unrealistic.
As always, I like to keep my beta reader pool to no more than 8 readers, typically from different backgrounds. I usually give them separate copies, so that their feedback won’t influence each other.
I’m considering joining a local critique group and feel that short stories work much better in those venues than a full manuscript. Especially since I’m more interested in feedback on my pacing and characterization than the chapter itself. I guess it’s arrogance, but I think I know where my problem points lay.
On the flip-side, I’m now a contributing editor to The Oddville Press, an online literary magazine of odd, but not really fantastical tales. I’m also a regular beta-reader for my dad (who’s retired from a day job and enjoys filling my inbox). Not to mention, I have a few critique partners, and writer friends who have been known to reach out for feedback. I will try not to commit to more than 3 full length betas this year.
Actually, maybe I should have changed the name of this goal. This should be all the in-person writing goals. I aim to attend 6+ open mic nights, 4+ monthly writer meetings, try a critique group, and 3 NaNoWriMo events (kickoff, 1 write in, and the all-nighter till 11pm). Plus? Two+ conventions.
I intend to hit Balticon again (May) and — if everything works out — WorldCon (August) in New Zealand (!!). I submitted to be a panelist at Balticon again… and this time was accepted! And? I think they approved the panels I suggested (topics from this blog that I feel I can talk competently on, and that my unpublished perspective won’t be a detriment to my authority on the subject).
How do I know they approved them? They recruited me to be on their Programming team! (Apparently, after attending nearly 30 panels a year for the last 5 years, they suspected I might have opinions about what makes a good panel and who are the good panelists.) So, that’s another time commitment.
What does being on panels net me? Why do I want to do this?
First, it’s a greater reach for my blog and vlog. Plus, a larger audience when I do get published. Hopefully, a way to make more friends and supporters. Plus, a chance to talk about all the stuff I obsess over on my blog and on my vlog in person with actual people.
But how does attending conventions count as a writing goal? Isn’t it just fun?Or part of your social media addiction?
Well, if you’ve been following my blog, you’ve probably noticed that over half the content is actually write ups from notes at convention panels! I attend the panels, for those who can’t (or don’t). Also? My sister teases me that I act like a teacher, trying to get her recertification credits, all in one weekend.
And? Well, I talked about it in my post on attending conventions, but, of course, there’s the networking aspect. The science-fiction and fantasy conventions I prefer are full of readers, writers, and even some publishers and agents!
As is becoming my trend, the first part of my year will be focused on revisions, the middle on conventions, and the end on writing. Plus, I’ll be reading and blogging and vlogging throughout the year.
Except December. I’m not a writer in December — everyone needs a chance to breath.
We’ll have to wait until next January to see if I had 2020 foresight.
Every time I finish a draft, I think I’m done. (Well, every draft since the third draft. You don’t want to be too hasty.)
This is my eighth round of revisions, and seeing as how I applied for a mentor in January, it’s only fitting that I should be revising again with her help.
I’ve been working with Leona Wisoker since February. And with her help, I’m adding a lot of sensory details and working on tightening my plot. My main character can get stuck in her own head pretty easily, and — for the sake of both the characters and the readers — it’s best to have her look up once in awhile.
I feel pretty confident in my characters, my world building, and my story. I just need help to take my second-world fantasy from a light read to something that will linger in the minds of the reader.
And Leona’s help is wonderful. I’m THRILLED to be working with her. (If you’re interested, she’s currently open to clients at email@example.com)
It means I’m doing another round of revisions when all I want to do is query and pitch and dream of The Call.
I wanted my story to be ready so badly. I’ve been working on this story since 2013, with a full draft in hand for nearly five YEARS.
You always hear about how most writers first novels are practice books that deserve to be in a drawer. I’m scared that the reason I’m still working this novel is because I won’t give up, when there’s no chance for this story to succeed.
The market is too crowded. Everyone has a book these days.
Yet, then I think back to those who have read it. My beta readers enjoyed it, my critique partners cheered for the story. The worst anyone’s ever said is “it’s clear this is an early draft” when I thought I was done. Back around draft five. (You thought I’d forgotten that, didn’t you. You know who you are.)
Everytime I want to throw in the towel on this round of revisions, I read my latest chapter and find myself filled with something warm and exuberant. Something that feels a lot like pride.
If I didn’t feel that sense of improvement, of rightness, after a round of revisions on a chapter, I would stop. But this is why I write.
As long as I feel at the end of the day that what I have after the effort is better than what I had before, I’m going to keep revising. Where I can take a chapter from merely telling a story to bringing the reader along for the ride.
Earlier this month, I sent my synopsis to my mentor. Sunday, she sent it back with feedback and I eagerly– spent the rest of the day avoiding it.
I had dived into her comments on my first chapter. I don’t usually hesitate to read feedback.
What was different this time?
The synopsis lay my story out cleanly. In 3 pages, my mentor could see my entire plot. My characters’ motivations. Everything.
My Top Five Fears:
5. Just didn’t connect
The most common and frustrating reaction from agents — the pure defeat of “I just didn’t connect with the story/characters/plot”.
But, as a mentor, she’s going to give some sort of feedback. What if she suggests it go in a completely different direction, that doesn’t work for me or my characters?
What if she insisted I was telling a different story than I had? Or thought a different story would be more compelling to agents?
4. Found it confusing
Sometimes agents don’t connect because they can’t understand what’s going on. What if my mentor didn’t get my story because my writing was confusing? The motivations didn’t make sense and the sequence of events was unclear.
3. Found it too formulaic
Perhaps, she could have thought it was decently written, but something she’s seen a thousand times, with nothing unique for us to build on, to draw the agents and publishers in.
2. Found it too contrived
A critique-partner had already told me back in December that one of my plot points felt a bit too contrived. What if my mentor agreed, and thought MORE of the plot felt forced and contrived?
1. Found a massive plot hole
What if there was some logic my story was missing that broke the whole thing?
That would be a LOT of work. I’m emotionally prepared for edits and polishing, but a MASSIVE restructuring of my story would definitely knock me back on my heels.
With all that weighing on me? I indulged my cold *sniffles hard*, binge-watched tv, and avoided reading her email.
Finally, just after midnight, I gave in and opened the email.
No plot holes, just some clarification needed and slightly better justification for an almost contrived point.
I cleaned up my draft, sent it off, and I talked with her just before I wrote this post. She likes my story, loves my world building, and was pleased that I could justify just about everything in that synopsis.
How do you handle feedback? Is the stress worse than the reality of it?
I’m an unlikely person to compare writing to painting.
I’ve confessed in the past, but my imagination is far more conceptual than it is sensory. Imagery is almost more of flavors to my mind than a movie played out in my head.
To make up for this, I have a Pinterest board for all my characters, settings, and clothing. (I should probably make one for meals). I do a google image search on actors or models (I try to avoid non-public figures, because they haven’t volunteered to have their likenesses used in media, and I feel a bit stalker-y even thinking about it.) Then, I just keep looking until I see an actor or place that looks ‘right’ to me.
Because of this, my writing can get sparse on description. Well, I describe the main character’s emotional state, and physical reactions, and mental calculations. But? It’s all quite a bit in her head and not so much outside of her.
So, to avoid my plot happening in a descriptionless void — otherwise known as ‘white room syndrome’ — I end up writing in layers.
Fortunately for my dreams of being a writer who creates breathtaking worlds, even experienced writers have confessed to writing in layers.
You start off with your draft looking sparse and clunky. (or over detailed in the main character’s head) Then? You despair of ever measuring up to the writers you love.
But that’s because, to quote Victoria Schwab:
And she’s right.
Several months ago, I went to a “paint bar” with my cousin. If you’re unfamiliar, it’s a bar where you reserve your table, and at the set time, a teacher leads you through creating your own version of the painting of the night.
Sort of like watching Bob Ross, only they have all the materials ready for you, and they’ve got plenty of snacks and drinks to keep you going.
That painting I made all those months ago? The instructor showed us how to fuzz out the reds and oranges, giving a haze that suggested leaves. But when I tried? I couldn’t get the technique right and found myself adding far more detail than the sample image held.
Neither way is right, but the parts have to blend and meld and hold consistent. A painting where portions are in crisp clarity, and others are a fuzzy blend of colors, when done without skill or a plan, will look amateur and unpolished.
Luckily, this painting isn’t something I plan on trying to sell. Plus, I only had 3 hours to get it right. With my writing, I get a lot more chances.
I recently sent off my first chapter to my new mentor. I thought it was ready for prime time, but with her fresh eyes? I can see where some parts of my story aren’t crisp. I can see where the colors aren’t blended properly.
Getting the balance between colors on a canvas is a lot like getting the balance between backstory and plot, detail and background.
So, I’m editing my manuscript. AGAIN.
I do worry that I won’t be able to take all these lessons and attempts and turn them into a streamlined process. But? The only way to find out is to finish, then try again. And I’m determined to create a world that even the most visual-minded reader will find entrancing.
Are you a visual reader or writer?
If so, what do you find yourself layering into your writing? Or struggling to connect with in your reading?
If not, here’s a hug for those of us trying to fulfill the expectations of the visual-reader. Let me know I’m not alone.