A Fishy Business

TODAY'S PRIZE: a signed first edition of Harlan Coben's LIVE WIRE! The winner selected at random from the comments.


HANK: So you send your wonderful story or novel to an editor or to a contest--you hit "send" and cross your fingers. The person on the other end is about to click the "open" button, start to read your words, and make a decision.

Is there nothing scarier? But today we get an up close and personal glimpse behind the scenes at that process. The Guppies--yay, Guppies!--(Are you a member? See below for why it's exactly the right spot for anyone interested in writing a mystery!) have put together the second in their "fishy" short story anthologies.

The Guppies worked together on Fish Tales--writing, selecting, editing, organizing and finding a publisher. And then sharing the fun of seeing the sales go up!

KB Inglee is one of the earliest Guppies--and I wondered if she'd share her experiences. Like all good Guppies, she said yes.

(She's not as "early" as she looks in this photo...she works as an historical interpreter at two living history museums in the Mid-Atlantic. She uses this hands-on experience to improve her historical short stories. She has milled corn using water power, cooked in a wood fired oven, driven oxen, and she tends a flock of heritage sheep. But at home, she uses a computer. I think...)

KB INGLEE: Writers don’t usually get a peek behind the curtain to see what editors are thinking, why they chose the manuscripts they do, why they reject the ones they do, or even why certain authors drive them crazy.

The two publications Fish Tales and Fish Nets, both short story anthologies, came about precisely to give writers that glimpse. The Sisters in Crime chapter, The Guppies decided to use the process of putting together an anthology as an education for members. The call went out for short story manuscripts with a fishy theme.

Since short stories are my love, I offered to field the manuscripts and act as liaison between the authors and the professional editor we hired.

HANK: So how'd you do it? It'd be difficult to choose stories from friends and people you know and love.

KB: We hired a professional editor, Ramona Long. Each author was to score three other stories and the top scorers would make it into the anthology. My job was to field the stories and send them out to be scored. When the scores came back, I pulled out the high scorers and sent them to Ramona. She read them and sent them back to me with comments which I forwarded to the authors. After two rounds of this, Ramona and I compiled the whole manuscript added the table of contents and the introduction by Chris Roerden. At that point I handed it off to others who found the publisher.

HANK: How did reality compare to what you'd imagined?

KB: When I took on the job I made two resolutions, I would not take anything anyone did personally and I would finish what I had contracted to do.

Every step of the way, authors were kept posted as to the progress and problems. Each author received a copy of their scores and comments by the readers. Each time I hit a snag, I alerted the whole group.

The biggest problem I had was the impatience of the authors. When I opened my email at 5 AM, there would be a story waiting. If I had not downloaded the story and responded to the author by noon, I could expect a “did you get my story?” email. I contacted all the authors to let them know they had to be patient, and not keep emailing, that if they did that they would get the reputation of being hard to work with.

HANK: SO funny! Was it a learning process for you? Did people do what they were told?

KB: Most everyone met the deadlines; two authors submitted their stories with the name attached for a blind read. This didn’t seem like much of a stumbling block since the readers didn’t know the authors. They got points off for not following orders, but the manuscripts were not rejected.

Those involved learned how subjective the process was. Both as readers and writers we were of all different skill levels. Had I sent any story to a different reader the score could have been different. One story that didn’t make the cut, showed up later in one of the prominent mystery magazines.

As an author, this was a mind expanding exercise. I now write the best story I can, have someone else read it to fix any errors, follow the submission guidelines like my life depended on it, send it out and then go on to write something else. I do not email magazines to ask if they have received it or when they are going to do this or that. The chances are good it will be rejected, or that I will never hear anything, but every now and then I have a story accepted somewhere.

Fish Tales came out in March and is a volume to be proud of, with 22 excellent short stories of murder and fish. Well worth the read. We hope it will be followed soon by Fish Nets.

HANK: Can we get a sneak peek?

KB: Sure! Here's a sampler of first lines:

***From Thicker than Blood by Leslie Budewitz:

From the shore, the setting sun looked like it had been pierced by two burnt lodge pole pines still standing on a distant ridge. Not even last summer, when the fires raged for months, had she ever seen the sun so red.

And her hands. Nothing more red than fresh blood.

***From Feeding Frenzy by Patricia Winton:

One rarely thinks of fish as a murder weapon, and Caroline Woodlock certainly didn’t have murder on her mind as she surveyed the vast piscine assortment spread out at the market near Piazza Vittorio in Rome.

*** From The Turkey Hill Affair by Warren Bull:

Turkey Hill, Iowa, was a big disappointment until I bumped into Bennie as he was robbing the Farm and Business Bank.

***From Amazing Grace by Betsy Bitner:

I have been planning my husband’s funeral for twelve years. No, he doesn’t have a slow-acting terminal illness. And he’s not some bigwig requiring a send-off befitting his stature in the community. It’s just that, like the Scouts say, you’ve got to be prepared. Everyone has to go sooner or later and, with any luck, my husband’s time will come sooner. Call me an optimist.

HANK: Sounds great! And congratulations to all. ****We at the Guppies are always looking for good fishy titles--any ideas? Let's see--Calling All Cods? No. To Tell the Trout? Come on, you guys can do better than that.****

Fish Tales is available at this address! And make sure you put #guppies on your tweets!

The GUPPIES--for Great Unpublished--is an incredibly active, friendly, educational and always-inspirational on-line chapter of Sisters in Crime. For more info, click here!

And don't forget to comment--you'll be entered to win a signed first editon of LIVE WIRE by Harlan Coben!

O wad some Pow'r the giftie gie us

"I have no judgement about this piece anymore, nor any control over it."

Johannes Brahms, 1857, about his 1st Piano Concerto

HANK: Can you take it? Continuing our chat about handling criticism...If you have never been critiqued, you may not be completely prepared for the kind of feedback another writer can give you. But Becky Levine, knower of all knowledge about critiquing, knows sometimes critiques really hurt. And sometimes make you wonder whether you should be writing. At all. But Becky—should a critique ever make you think—forget about it? I’m stopping?

BECKY: No. Definitely not. If you are working with a critique partner who consistently delivers critiques so harsh they make you feel this way, you need to talk with them, let them know how you’re feeling, and see if they can change their critique style.

HANK: But a good critique can be so helpful! Especially from someone who really knows what they’re doing. (Check out Becky's amazing schedule of how-to seminars! But if you're not in Northern Calif, Jungle Red is now the place to be.)

BECKY: Yes. The whole point of a good critique is that it should help us see things we haven’t noticed yet, to look at our writing in new ways. When you receive a critique, you are hopefully getting a thorough, detailed set of feedback. Take time to think about the comments you’re getting, to really look at them “next to” your story, and see which comments are going to help you transform your story.

HANK: But you look at the pages and see all those red marks…

BECKY: This may be where that fear of red ink comes from! Even if, logically, you know all those comments are there to help you, you may still feel overwhelmed. Sometimes very overwhelmed.

Try to remember a few things.

You are not the only person to ever have their work marked up this way. It happens to most writers. It happens to me all the time! You are allowed to start slowly.

Take it a chapter at a time, work with the small changes you can say “yes” or “no” to, and let the other, bigger comments simmer in your brain as you work.

You don’t have to make all the changes at once. When I’m revising from a critique, I find it most helpful to pick one or two big things to work through in one revision, following the thread of changes through each scene, and watching how my story grows and improves as I work.

HANK: There’s a real skill, though, in being able to make it clear what the suggestions mean. And to understand what the reader is really saying It may be that something just doesn’t ring true for them. But the way the reader suggests to change the ms.—isn’t the only way to do it.

BECKY: That’s very true. It is hard to, first, understand what isn’t working for you and, second, explain it to the author. That doesn’t mean, though, that a reader is wrong that something isn’t right. If you get a comment that doesn’t make sense to you, or a suggestion that doesn’t mesh with your vision of the project, still go back and read the passage your critique partner called out. Between their comments, your understanding of your story, and the re-read, you’re probably going to see things a lot more clearly and be a big step closer to revising this section.

HANK: What if you think the suggested changes are just--wrong?

BECKY: You are the author of this manuscript. You can always decide against putting in any of the suggested changes that you’re not happy with. Just be open to the possibility that your first negative reaction doesn’t mean you shouldn’t listen to and think about the comment. We have a lot of fear about whether or not we can change our stories, anxieties about not being able to make the changes someone suggests. If the critiquer make a big point about something multiple times through the pages, do take a second look at those comments before deciding against them.

HANK: But the point is—empowerment, right? And if you’re writing a book, someones going to read it, eventually, right? It’s got to happen sometime, right?

BECKY: Right. You can do this! We send our words out with high expectations, and higher hopes. We know, in general terms, that we have more work to do, but—often—we don’t know or recognize, how much work that will be. Take your time. Be patient with yourself, and allow yourself to grow your writing along with your project. Every revision you do of your manuscript will bring it that much closer to being the book you want it to be.

HANK: Is it okay to go back and ask for clarification?

BECKY: Oh, yeah. Your critique partner is not (usually!) going to disappear after they send you the critique. They’re available for questions—don’t hesitate to email them if you don’t understand something they’ve written, or if you’re feeling confused about where to go with the critique. They’re in your group because they want to help—ask for that help when you need it. And be ready to give it in return,when someone in the group comes back to you.

HANK: Are you in a writing group? Do you have a critique partner? (And if you don't and want one--come back Thursday. I'm just saying.) Have you learned anything BIG from someone else reading your stuff? Ever regrettted it?

I also learn from reading other people's work! And that's a rarely-discussed but wonderful benefit to critiquing!

(Tomorrow: It's Wednesday, so we'll have a special guest. Clue: say cheese! Oh, a

photographer? Nope.)

*******************************
Becky, a stalwart FOJRW, is the author of The Writing & Critique Group Survival Guide: How to Give and Receive Feedback, Self-Edit, and Make Revisions. The Survival Guide was published by Writer’s Digest in January, 2010.
Through her ten years as a freelance editor and her more than fifteen years participating in critique groups, Becky has learned firsthand the support and motivation that writers can give to each other on their writing paths. She is a passionate advocate of the benefits of critique groups and the value in working to build a strong, productive group. She is available to speak at conferences, writing clubs, and your critique group. Check out her website!

Can You Take The Heat?

"They afterwards took me to a dancing saloon where I saw the only rational method of art criticism I have ever come across. Over the piano was printed a notice- 'Please do not shoot the pianist. He is doing his best.'”
**Oscar Wilde

HANK: Yes, it's hot. Outside. Amazingly so. But the heat I'm getting at is when it's hot off the presses. When you finish--or at least, kind of finish--a 'more than a first draft.' And then the first real person reads it. And then someone--a critique partner, or pal, or independent editor, decides to tell you what's wrong with it. (Or, what's right! :-) )

How do you handle cricitism? And do you think we learn that from childhood?

I had a pal once, years ago, who thought she was just wonderful She was so confident! Whatever she did, she felt, was just the BEST.(emphasis hers :-)) But in reality, she was just--mediocre. I mean, fine, but no great shakes. Still, you couldn't tell HER that! She'd never believe it. If anyone criticized her, or suggested she do something differently, she'd just smile and say, how interesting! and go on her merry way.

I had to wonder about this shining shield she seem to have. So I asked her, once, how her parents treated her as a kid.

Did they praise you every day? I asked.

Oh, yes, she said. They always told me I was wonderful.

Mine didn't. Really, rarely. If ever. There was ALWAYS ALWAYS something I could have done better. And I think that's had a huge effect on me.

ANd now, I'm used to hearing "criticism" every day as news director types look at my scripts. Over the years, I've learned that smart, savvy, intelligent "criticism" is the best thing that can happen.

ROBERTA: How interesting Hank:)--no I mean it. I think my urge to improve my writing is stronger than my dislike of criticism--and I hope it stays that way for a long time. I'm not saying I LIKE all the feedback, but I've gotten much better at two things. First, not arguing immediately:). Think it over, figure out what may be true and even if it isn't, what is the reader stumbling over? Second, choosing who I ask to read my stuff. I want readers who are truly honest, but in a kind way. No matter how many books we have published, our little writer egos are so fragile...

As to the childhood question, my parents were not the shining shield kind. They thought we kids were terrific bottom line, but by no means perfect, so I guess that fits pretty well with how I turned out. I think kids might need unconditional love, but not unconditional praise. Encouragement for trying, but help them evaluate realistically how their efforts worked out.

ROSEMARY: Doesn't everyone's mother think they're wonderful? Mine certainly did. I don't know that she armed me with a shining shield, but she did make me think I could do anything - and I still think I can do most things if I work hard (although pitching for the Yankees and dancing with Baryshnikov have recently fallen off the list.)

Sticking to writing..I have no critique partners and no early readers. Sometimes I wish I did, but I can't see myself critiquing someone else's writing so that probably wouldn't work. It's all so subjective. For good or ill I haven't gotten much pre-publication feedback on my first three books. I just go into my little girl-cave and write. Then I send it off.

My last editor made very few suggestions, but she was right about almost all of them. I have a brand spanking new editor for my next book and we'll see what kind of comments I get on this manuscript.

JAN: I think the more professional you become at something, the more you want constructive criticism, and the better you get at balancing criticism with your own mission statement. We had a woman in our writers group a long time ago who wouldn't just accept criticism, she'd gallop off with it. Constantly changing direction, depending on whoever gave her the criticism. That's just as bad as not listening to any of it.

My mother was pretty much equal parts child adoration and criticism, and I'm talking high levels of both. But I actually don't think that has anything to do with how I handle criticism. I think accepting criticism is basically about having confidence, some of which is learned a long the way and much of which is inborn.. It's a nature vs nuture thing. And until I had two children myself, I thought confidence had to do with nurture. Now, seeing one child born confident and the other born sensitive, I'm firmly in the nature camp. The package is there at birth.

HALLIE: What an interesting discussion. My parents thought we all walked on water but they also had a way of rubbing our noses in our OTHER sisters’ accomplishments. Which is one reason why I went off and did my own thing for a long time before trying to do theirs.

I can’t write without readers. I need other people’s perspectives to save me from myself.

Hey, Ro, I also have a new editor. She's wonderful. I just finished going through her comments and revising the manuscript (“Come and Find Me” 4/11 Wm. Morrow).

She suggested edits in almost every paragraph, and gave me 15 pages (!) of substantive comments, numbered 1 to 287.
Sample: "Let’s see a beat here where Diana realizes she should back off."
Sample: "I’d make this more personal; does she have a flash of regret?"
Sample: "Let's make this active."

HANK: Oh, Hallie, that sounds wonderful!

HALLIE: I've never had an editor give me this level of critique, but I'm thrilled. I don’t make every change, but virtually everything gets dealt with, one way or another. And it’s so great to have someone else really engaged in the manuscript. Going through her comments MAKES me really look at the manuscript, line by line, scene by scene, plot point by plot point--which is very hard at this point in the writing process when I can practically recite it word for word.

RHYS: I can't say I love criticism, but I do appreciate good editing. I think that a manuscript needs to be examined by fresh eyes, because often we're blind to our own shortcomings--do I use this word too often? Have I used this device before?Do I make this character sound petty or shallow? My books are read by three people before they go to the publisher and they all contribute something to the fine tuning.

My editors also make good suggestions, but the important thing for me is that they are enthusiastic about my work. Actually I'm still insecure about my writing. You'd think after so many books that I'd have gotten the hang of it by now, but I still don't really believe it's okay until someone else tells me. I keep expecting someone to say, "well the other books might have been fine, but this one falls short." So I hold my breath until the editor tells me she loves it.

HANK: Me, too. Rhys. I just asked someone to read something, and as I told Jonathan: She could tell me it's the bst thing she ever read. Or she could tell me it stinks. And I will believe either one.

So--can you take it? And how do you handle it?

And be sure to come back all this week for more--tomorrow, advice from a pros. Wednesday, an author with a cheesy debut. Thursday, how to get your ms. critiqued! And Friday--of course, something completely different.

(Who's) ON FIRST

"I am born."

"I had a farm in Africa"

"I have never begun a novel with more misgiving."


RO:
Back in the day, novels written in the first person got some respect. When did that change?

I don't know if it's a mystery thing or a "literary" thing, but it seems that writing in third person (or some other variation or combination) gets all the reviews while first person novels are somehow seen as lightweight, anyone-can-bang-them-out yarns. When I started Pushing up Daisies, I wrote in the third person - then when it seemed I would be writing a series I switched to first to put my protagonist right in the action. I had fun writing lines like "I whacked him in the head with the weed whacker", or my foot connected with his nose..."
What do you all think?

JAN:

Books written in the first person seem to be perceived as "small" which bugs me because I love writing in the first person. I also prefer reading first person books and I find I like movies and tv shows where there is a first person voice over (which oddly enough seems to be an increasing trend). What I like about voiceovers and first person novels is the perspective they offer. But I guess the rest of the world wants a more global view. Like everything else in literature, its probably just a passing phase.

HANK:
We all grew up with "Once upon a time..." Think about it. From our first moment of hearing a story, we heard it in the omniscient view, and usually past tense. "There was a beautiful princess, and she went...." "The frog said "But wait, if you..."

What's more, I always feel that a third person, past tense story is one that's over, that's already happened. Which is kind of interesting, isn't it? Because if done properly, a tale told in first person doesn't telegraph that something is over. It brings the reader in at the beginning, to go on the journey with whoever the main character is. (Whomever?)

I mean, Rebecca. Last night, Rebecca dreamt she was at Manderley again. (I guess she had told someone about it?) His name was Ishmael. And how could you possibly third-person-ize Catcher in the Rye ? And why would you want to?

One pal of mine got a review (of a book I thought was hilarious and wonderful) which said something along the lines of: "I can't understand why this is written in first person. I couldn't even read it." Huh?

Don't get me wrong. I'm comfortable either way. If I open the book, and at the end of page one I'm transported into the book's world--fine with me. First, third. I'm happy.

But I agree--I'd love to hear what you all think about why first person is so often vilified. Is it too--self-centered? Does it make the focus too narrow? Does it require too many coincidences?


RO: So let us know what you think.....and anyone know which books those three lines are from? First person to answer gets a Jungle Red gift!