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Take My Advice
Opinions are like unfinished manuscripts. Everyone has one, but not all of them are meant to be shared.
Telling someone you’re writing a book is like handing them an engraved invitation to give creative input. The polite “What’s your book about?” inevitably leads in to “Have you considered…?”, “You should really…” and the ever so helpful “You know, I have an idea for a bestseller…” These well-intentioned interludes aside, no writer is an island—at least, no writer who hopes to publish. And the best way to find out of you have a book that publishers will want to buy is to put it in front of people.
Whether you’re aspiring or published, there are numerous sources of feedback available—author/agent/editor critiques, critique partners, beta readers, contests, rejection letters, revision letters, reviews, reader feedback, and on and on and on. Sure, it’s a good idea to get a variety of reactions, but how do you know what input to incorporate? What if you get opposing reactions? What if you get advice you don’t agree with?
Believe it or not, this kind of analysis and decision-making is a big part of what editors do. Putting out a great book isn’t like baking a pie—there’s not one certain recipe for success. Editing is a collaborative process, and editors filter through a lot of information to figure out what will work best for each book. Genre conventions, grammar rules, house style, copyeditor input and author intention are all part of what we have to take into account and help the author process to make these tough decisions. How can you learn to do this? Here’s my advice:
- Give it time. No one likes criticism—editors included. I work hard at my job, and getting back those marked up copyedits is an unwelcome reminder of every typo and error I missed. But when I feel myself getting frustrated and defensive—Maybe we wanted it to be “He fondled her beast”. It is a paranormal…—I know it’s time to put the manuscript aside and come back to it when I have a little more perspective. Some of my authors know a little bit about this too. It’s not uncommon that I send off revisions only to immediately get back a lengthy, doubtful response from the author. Only to be followed after a day or two with a sheepish “Okay, you were right”.
- Ask questions. Rather than writing that lengthy, doubtful response, ask your reviewer to elaborate. It’s possible that you haven’t clearly understood what they’re asking for—or that they haven’t clearly explained it. Even editors don’t get it right every time. I’ve looked back at my comments only to find I can’t make sense of them, much less expect the author to do so. Opening the lines of communication is a start to collaboratively attacking a potential problem.
- Explain yourself. Sometimes referred to by the highly technical term rambling. Go ahead, write that lengthy, doubtful response. Problems and solutions aren’t always clear-cut. Sometimes I have to write out my thought process until I hit on what isn’t working for me or what might be the best way to solve it. And many of my authors ramble right back. What any good reviewer wants is to help you make your book better, so sometimes you have to lay your cards on the table. It’s hard for anyone to help you achieve your vision if they don’t know what your vision is.
- Consider your source. As great as it is to get a variety of opinions, you have to keep in mind that not every person is equipped to help you make your book better. Critiquing is a very different skill than writing, so just because people are part of the field—critique groups, contest judges, even bestselling authors—doesn’t necessarily mean they’re good reviewers. Or the best person to help you. You want someone who can help you realize your vision, so that person has to appreciate your vision. A contest judge who hates secret baby plots is not the best person to give you advice on your secret baby book. An editor who doesn’t appreciate your voice probably isn’t someone you should be working with.
- Listen to your editor. Yeah, it’s gotta be said. As I once heard a published author claim, “the only advice you have to take is from the person who’s buying your book”. You certainly don’t have to follow your editor’s suggestions blindly—the editing process is one of give-and-take—but if you’ve trusted your book and your vision to an editor, you should be able to trust that she’s going to make your book better. As our executive editor Angela James (the only person whose advice I have to take) says, “Don’t submit to a publisher if you’re not going to believe in their editorial process”.
- Go with your gut. When it comes to putting out a great book, there aren’t easy answers—otherwise we’d all be publishing bestsellers. If you’ve tried all these steps and you still have feedback that isn’t working for you, trust your instincts. You’re the author. You have a story to tell. You know the book better than anyone. If a suggestion isn’t resonating with you, if you can’t find a way to make it work, maybe it’s not meant to. Be true to your book. That’s the best advice I have to give.
How do you approach feedback? Give us your advice! Or feel free to ask any other questions you have. It’s Ask an Editor Day, and I’ve got plenty more advice to share.
Thanks for the great advice. I’ve been looking for a critique partner for some time, but have not been able to find someone who shares “my vision”. I write fantasy, so it would be kind of difficult to work with someone who writes poetry—my poetic side is worthless, and I doubt they would want to take the time to read my 5k after I finished reading their 14 lines.
But it is so hard to find someone who is dedicated and trustworthy :(
I had to learn that I could disagree with an editor…respectfully. I STILL find it difficult to say “I’m not sure I agree with that” or explain myself without being defensive.
Most editors I’ve had have all been different but they have one thing in common. All of them would rather hear that I didn’t agree with them DURING the editing process than after. Once we hit those final edits, I need to have said my piece.
I’ve been very lucky in my editing process so far.
My process is to let both my creative diva side and my professional author side have their moments.
When I first open the edits, I let my ego give the “talk to the hand” to the criticism while fixing the typos, grammar, etc. At least a day later I can go back and analyze the comments in a much more objective way. And quite often, the few things I disagree with and stet, I’ll end up changing on our second editing pass.
My best advice is to never do your edits in one pass. You’re an artist and a businesswoman, and both need their moments.
As for critique partners, my only advice—-watch out for writers like me. I’m one of those nightmares who will not only critique, but will try to rewrite your work to suit my voice and style. I recognize that about myself, I can’t help it no matter how much I try, and that’s why I don’t critique. Unfortunately many writers either don’t recognize it themselves or don’t care, so watch out for that.
I don’t think I’ve argued with an editor once. I’ve made my views clear, and they have made their views clear and we work together to form a solution because, after all, your editor is on your side. They want your book to sell just as much as you.
As for critique partners, I haven’t always taken their advice, but their fresh look at my manuscript is very much appreciated. For example, I had a manuscript with one way to end, and my critique partner wanted me to change the outcome with something different, but based on other readers they enjoyed the original plot twist at the end. I kept it, and it work.
When I offer up a critique I always say use what you like, discard the rest. When it comes to critiquing, it is the authors creative vision after all. Your decision, after all critiques, contests what have you are subjective to that particular reader.
But that’s just my humble opinion.
Thanks, Magaly. A lot of people struggle with finding the right CP. Though there are plenty of writers’ groups and forums where you can look, sometimes it’s more important to find someone who shares your worldview than who’s an experienced CP. The best CP success stories I know are people who met through fan communities for their favorite author. Someone who already shares your taste in books is likely to agree with you on what makes a great one.
And that can be even more important than what you write. Though fantasy and poetry are a bit of a stretch, I know CPs who don’t write in the same genre/subgenre. But they still agree on what makes great writing and storytelling. And they respect and believe in what the other is doing.
Jennifer, I definitely agree. I actually worry when authors appear to blindly accept every change I suggest. What if I’ve made a mistake? Misunderstood your intention? Sometimes my suggestions are just that, suggestions. I’d much rather an author say “Thanks, but that’s really not what I’m going for” than accept a bad change because they’re afraid to disagree.
Well said, Shannon! And thanks for supporting my point that not all great writers give great critiques. I’ve seen critiques from popular authors that were atrocious, including the kind of rewriting you mention.
Though experienced writers can have a lot to offer, sometimes what you need is an experienced reader. Even if writers know better than to rewrite, they can be overly reliant on rules, use overly technical language or try to do too much of the problem solving for you. Sometimes what you need is not “This scene doesn’t fit into your heroine’s GMC arc and has no hook” but simply “I found myself skimming this scene because I was bored”. Readers are great for getting a gut reaction to whether something is working without getting hung up on rules of good writing.
Amy, you’re so right—we all want the same thing and working together with open communication is the best way to achieve it.
Your advice about critiquing is spot-on. Consider feedback with an open mind, but know you can’t please everyone. Have confidence in your vision.
After having just done our first book together in the creative process, I can say you did a great job slapping me where I needed slapped, questioning what needed questioned and reaffirming what needed reaffirmed.
One of the things i liked most was when you found a spot that needed “something” you weren’t steadfast in what should be there but rather good about saying, listen, what’s here isn’t really clicking, how about this or that or try a new angle.
Okay, I’ll shut up now. Just wanted to sing your praises over here too and to say thanks again, Lindsey!
Hey Lindsey! You are a terrific brainstormer, and I’ve appreciated your input. You’ve always been very, very fair and I consider myself lucky to have you as an editor.
I have critique partners, and plotting partners, and readers, lol, who all look at my work before I send it in –
Traci
This is a great summary of the process, Lindsey! I have writer friends who worry about how the editorial process might work when they get to the professional stage. I’m going to send this to them.
I try to “go with the flow” when it’s time for edits, which is usually easy because you’re a great editor who has made suggestions that I know will strengthen the story. But I definitely follow Shannon’s process — look at it, take a step back to think about it, and then respond. Ultimately my take on it is, if my editor or copyeditor had this question, will the reader also question it?
Lindsey is absolutely terrific at finding those weak points I really hoped nobody would notice! Usually I know the problem exists, but I find myself hoping (eternal optimist that I am) that the problem isn’t as glaring to other people as it is to me. A good editor like Lindsey will make me own up to the fact that it really is a problem and has to be dealt with. Sigh.
What, you mean every heroine doesn’t want her beast fondled? LOL
I think that over time it gets easier to deal with criticism to some extent. I know I used to challenge something an editor pointed out right off, but eventually realized, like Shannon, that by the time a second round of revisions hit, I ended up realizing it needed to be changed anyway. Now if that instinct to challenge kicks in, I go with the rambling approach, asking more questions about what prompted the particular comment or suggestion, giving myself time to let it all sink in.
Ah, and my final piece of advice: Keep your editor/CPs happy. Like by saying really nice things about her in public. Thanks, girls, you’re very sweet!
Thanks to everyone who read and/or commented today. Join us next week for advice from another fabulous Samhain editor.
Uh, oh, Lindsey. I think I saw myself in many of your comments. The arguing, the rambling, the general angst I threw your way after you so kindly accepted my manuscript. Luckily, I did realize a good editor is like a good mother. You don’t want to admit she’s right, but she usually is. And you should listen to her. Not that that will completely erase that rebellious streak in the author’s inner child! What a good editor does is make a book she already liked a lot even better.