Kristen Lamb

Author, Blogger, Social Media Jedi

Kristen Lamb — Photo

Posts Tagged: editing

After six years in critique her novel was “perfect.”

Critique groups can be wonderful. They can offer accountability, professionalism, and take our writing to an entirely new level. But, like most, things, critique groups also have a dark side. They can become a crutch that prevents genuine growth. Depending on the problems, critique groups can create bad writing habits and even deform a WIP so badly it will lose any chance at resonating with readers, thus being successful.

The key to avoiding problems is to be educated. Not all critique groups are worth our time. Some critique groups might have limitations that can be mitigated with a simple adjustment in our approach.

Traditional Critique Groups

Many of you have attended a traditional critique group. This is the “read a handful of printed pages or read so many pages aloud” groups. Traditional critique groups have some strengths. First and foremost, they can clean up a new writer’s prose.

When we turned in that high school paper with 60 glorious metaphors on page one, we got an A. Why? Because our teacher’s goal was to teach us how to use a metaphor properly. Her job was not to train us for commercial publication.

In a good traditional critique group we learn that POV does not mean “Prisoners of Vietnam.” We learn to spot passive voice and “was clusters” and why modifiers aren’t always extra-nifty. We will hopefully learn self-discipline in that we need to attend regularly and contribute. We can also forge friendships and a support network.

So where’s the problem?

Traditional critique groups lack perspective.

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Once a week reading fifteen pages only cleans up shoddy prose. Traditional critique groups are looking at a work the size of a skyscraper with a magnifying glass. They lack the perceptual distance to see structural flaws. A novel can have perfect prose page to page and yet have catastrophic faults. In fact, I would venture to say that most writers are not rejected due to prose, but rather, they meet the slush pile because of tragic errors in structure.

Traditional critique groups can tell us nothing about turning points or whether a scene fits properly. They lack the context to be able to discern if our hero has progressed sufficiently along his character arc by the mid-point of Act 2. They have zero ability to properly critique pacing, since pacing can only be judged in larger context. So, my advice is to get a beta reader that you trust. Critique groups cannot do what only beta readers can.

***A beta reader is a regular person who likes to read our genre and will tell us about the story from a reader’s perspective.

Traditional critique groups can also hurt us in the following ways.

Traditional groups can get us in a habit of over-explaining.

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As we just mentioned,  those in a traditional critique group sitting around the table can’t see the big picture. It is hard to pick up a story on page 86 and understand what is going on. Our fellow writers care about us and believe if they don’t say something that they aren’t helping. Thus, they will say things akin to, “But how did Fifi end up in Costco wearing Under-Roos and wielding a chainsaw? I’m lost.”

Well, duh, of course they’re lost.

They’ve missed the last three weeks and haven’t been keeping up with the story. So learn to resist the urge to over-explain in your prose. Our job is to write a great novel…not 600 individual sections our critique groups can follow.

Traditional critique groups are notorious for the Book-by-Committee.

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Not everyone’s opinion is equally valid. If you are like me and lean to the people-pleasing side, you can get in a nasty habit of trying to please your critique group at the expense of the big picture. Learn discernment and how to stick to your guns, or you will end up with a Book-by-Committee, also known as Franken-novel.

One great way to know good advice is to READ craft books. Hooked by Les Edgerton, Save the Cat by Blake Snyder, Story Engineering by Larry Brooks, and Plot & Structure by James Scott Bell are a great start. In fact, ANYTHING written by Edgerton or James Scott Bell, just buy it and read it. You can thank me later 😉 .

That way, when someone offers suggestions, you will know whether or not that advice is supported by leading teachers in the industry.

They can get us in a habit of perfectionism.

Image via Hyperbole and a Half
Image via Hyperbole and a Half

The world does not reward perfect novels, it rewards finished novels. I still run into writers who have been working on “perfecting” the same novel for the past ten years. As professionals, we need to learn to LET GO. Either the project was a learning curve and it needs to be scrapped and parted out, or it needs to be handed a lunch box and sent off to play with the big novels via query or publication.

Scrap it, part it, shop it or ship it but MOVE ON.

Yes, I know NY publishes novels that have typos and grammar errors. But when writers are under contract, they don’t have 6-10 years to ensure that their manuscript doesn’t have a single misplaced comma. In fact, I would be so bold as to posit that readers don’t generally get to the end of a novel and declare, “Wow! That was riveting. Not one single dangling participle in the entire book!”

There are writers I know who have been working on the same book for four, five, even SIX years. I see them at conferences dying to land an agent and get that three-book deal. WHY? New York isn’t going to give them another 12-18 YEARS to turn in manuscripts. The hard reality is that, if we hope to make a living at this writing thing, we need to learn to write solid and we need to learn to finish…quickly.

Traditional critique groups can offer a false sense of security.

Can get you in trouble...
Can get you in trouble…

We must always be looking for ways to have our work critiqued by professionals who are willing to be blunt and who possess the skill set to see our errors. Don’t join a writing critique group simply because they say they are a writing critique group. Look at their credentials. How many successfully published authors has the group produced?

How many people in the group are career writers, authors, or editors? Gathering together because we love writing is always a great idea, but if the group is solely comprised of hopeful unpubbed writers, the critique will be limited. Limited is fine, so long as we make sure to reach beyond that group for additional critique.

We must make sure our work is being reviewed by people who will be honest about any problems. Meeting once a week to sing kumbayah is not the best preparation for this brutal career. Once our book is for sale, we are open to the big bad real world of people with nothing better to do than skewer us publicly on-line in a blistering review.

You will know them by their fruits…

If your goal is to write great novels, make sure any group you join is producing successful novelists. I spent way too many years in a critique group that produced all kinds of articles and NF, but no one had published a successful novel. Then I wondered why the critique was…eh.

When I left that group for the DFW Writers Workshop, my world tilted on its axis because DFWWW is AWESOME and is known for producing professionals in all genres. In fact, I wouldn’t be here without them. I also STRONGLY recommend joining RWA (Romance Writers of America) and find an RWA chapter nearby even if you don’t write romance.

RWA is by FAR the most professional group of authors any of us can connect with. They are at the leading edge of the industry and these folks will totally send in the flying monkeys if you don’t get back to writing. 

By the way, if you want to get more out of your critique group, I have a class this Saturday (details below) that can make sure your larger structure is sound. This class can do what your critique group can’t and it will help you spend your time more wisely.

So what do you guys think? Have you had problems? Does your critique group seem to only run you in circles? Have you fallen for the perfectionism thing? Or am I off-base? What are your solutions? Ideas?

I love hearing from you!

To prove it and show my love, for the month of APRIL, everyone who leaves a comment I will put your name in a hat. If you comment and link back to my blog on your blog, you get your name in the hat twice. What do you win? The unvarnished truth from yours truly. I will pick a winner once a month and it will be a critique of the first 20 pages of your novel, or your query letter, or your synopsis (5 pages or less).

Also, for more help on how to use characters to ratchet anxiety to the nerve-shreding level, I am offering my Understanding the Antagonist Class on April 18th and YES, it is recorded in case you miss or need to listen again because this class is jammed with information.

I LOVE teaching this simply because our antagonists are pivotal for writing a story (series) readers can’t put down. Yet, too often we fail to harness characters for max effect. I look forward to seeing you there! I also offer the Gold level for one-on-one. Maybe you’ve hit a dead end. Your story is so confusing you need a GPS and a team of sherpas to find the original idea. Instead of wasting time with misguided revisions, I can help you triage your WIP and WHIP it into fighting form 😀 .

For those who need help building a platform and keeping it SIMPLE, pick up a copy of my latest social media/branding book Rise of the Machines—Human Authors in a Digital World on AMAZON, iBooks, or Nook

Image with Twig the Fairy
Image with Twig the Fairy

Sorry I’ve been lax about posting. The Attack of The Peanut cascaded into a splendid ER visit and a bad case of Shingles. Nothing to make a gal feel young like a case of Shingles. I now need denture paste and glitter. I am sure there is some mayhem I can create with that 😉 . Oh, and I want an obnoxious pink cane with a tennis ball on the end so I can sit in my driveway and yell at people that they’re driving too fast.

Where was I?

Oh, yeah, was going to chat some about writing (in this weird gap I get between waking up and pain meds kicking in). No precise time when THAT happens so should be FUN. Being laid up in bed doped on pain meds gives you LOTS of blog ideas…and seriously weird dreams. How does one translate competing in ice skating against Nancy Pelosi and she wins because she has the better Monster Truck?

I REALLY want a Monster Truck.

Anyway, WRITING.

Today we will use an acrostic because they’re cool and keep this ADD teacher/blogger on SQUIRREL! …um, task.

Writing takes H.E.A.R.T.

Image via Flickr Creative Commons. Bansky's "Peaceful hearts Doctor" courtesy of Eva Blue.
Image via Flickr Creative Commons. Bansky’s “Peaceful hearts Doctor” courtesy of Eva Blue.

Hard Work—Yep, no magical program that can whip out a NYTBSA. But frankly, would we want one? Those in writing for the wrong reasons (make a quick buck) abound. Some succeed but they’re rare. Most of us do this writing thing because of LOVE. We love to write, to teach, to share, to tell stories. We are explorers who can venture into the human mind or into galaxies never before imagined. And no matter where we go, there is coffee.

That’s a perk *bada bump snare.*

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One thing that CAN feel weird though is often what we do doesn’t feel like work so it freaks us out that we’re being lazy. No, trust me. Reading books, watching movies, series, TV IS work. We’re studying the craft. And others can laugh at you, but who mocks the NFL player who watches the same football replays over and over? Or plays Tic-Tac-Toe and no one wins? I have yet to see them draw a line through any of the Xs or Os. *rolls eyes*

Ok. We laugh at them. But they don’t care and make millions for throwing a ball. Take a lesson.

We might be weak at something. Remember that our greatness is only limited by our strongest weakness. We can be a pro at dialogue, but if we have no clue how to plot effectively? We can limit how well we connect to the reader. Still focus on your strengths, but acknowledge and develop your weaknesses so your writing is balanced.

Allies—Again, this is why I started WANA. I knew what it was like to be completely alone trying to do this writing thing. I might as well have told friends and family I was pursuing a career in coloring books.

What a WANA Coincidence! (Susie Lindau, Moi, Julie Hedlund, Piper Bayard)
What a WANA Coincidence! (Susie Lindau, Moi, Julie Hedlund, Piper Bayard)

The world oddly devalues what we do, yet they spend most of their disposable income on what artists create—music, movies, books, video games, TV, TV series. Writing changes the world. It’s ended slavery, given hope to the hopeless, been the greatest catalyst for equality and often is the spark that lights the scientific innovation. *cough* Star Trek. Thank Gene Roddenberry for that smart phone the world is addicted to.

But you will need others to remind you that what you are doing is important. Also, learn to spot allies versus energy vampires. We all have them. People who have problems they want us to solve and then they do what they were going to do in the first place.

Use those words wasted on someone who won’t listen anyway and put them on a page. Also, learn to say NO to time-suckers and YES to allies. No is rarely popular, but I’ve learned I would rather be respected than popular.

Empathy—The mark of an excellent writer is how well she can get in a character’s skin/head. Study people. Listen. Pay attention. Get in another person’s head/heart for real. What would they think, say, feel? If we fail to do this authentically, readers will spot it.

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Rhino Skin—I wrote an old post about critique groups someone stumbled across. I mentioned that we gutted each other’s work. This vexed the commenter, but why? I would rather someone be hard on me in private than get slayed in reviews that are for public view permanently. And even if the person is a total jerk? Great training for this thing called reality. There are some reviewers who will post venom for the sole purpose of being mean. I don’t know why. But bullying has always been around and likely not going away. Though I’ve been blessed with wonderful, thoughtful reviews on Amazon, there are people on Goodreads who clearly never read my book who gave me one star just because they could.

Image courtesy of the generous Schristia via Flickr Creative Commons
Image courtesy of the generous Schristia via Flickr Creative Commons

But, if you’ve been in a critique group of respectable peers who give tough love? @$$clowns are easier to write off (or write INTO a novel).

If you can possibly find and join and RWA group? DO IT, even if you don’t write romance. This is the greatest collection of pros you can hope to find.

We have to develop discernment (which comments are crap and what’s worthy of looking into), but even if it’s pure jealous hate B.S.? Still useful. Hey, we always need someone to shame/torture/kill in our next novel, right?

I won’t sugar-coat. If you write anything, especially anything worthwhile? The haters will flock to you. You are the light that reveals their fear and suckiness. Actually hate is proof we are doing something right. But it will still hurt. I’ve been in martial arts my whole life and getting hit in the face still hurts. I just no longer take it personally.

Same with writing. Feel the sting, then let it go….until you can create a plot involving a serial killing H.R. Manager with tragically small man parts or a former coworker with terminal cellulite.

Time—Rid THIS phrase from your lexicon. “I can’t find the time.” Time is not the remote control hiding in your couch cushions. Pros don’t find time, we make time. You are a priority and so is your writing. Again, it is better to be respected than popular. I’m not saying these can’t coexist. But, those close are NOT writers. They do NOT understand us and won’t. Most people have no clue why anyone would write anything unless there was a grade at the end or a boss expected it.

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We will have to say NO. Guard your gift because I can’t do it for you. No one can. As the late great Robin Williams said, “It’s like partial circumcision. Either go all the way or $#@%#@$ forget it.”

Before we go, I AM going to mention a series of classes I have coming up in early September. I call them the Going Pro Series. Back to School for AUTHORS. There’s Craft, Branding/Social Media, and Business (which publishing path might be the best fit for YOU/your work). Often we make stuff too complicated. Hey, we are writers. It’s our thing. I am here to help.

These classes are designed to streamline ALL you do. In craft, you will learn essentials, how to plot leaner and meaner and write better and faster than you might believe you can. Branding/Social Media? It’s simple and doesn’t take nearly as much time and effort as some might tell you. Business? We writers are in the Entertainment BUSINESS. Which path is a good fit? Not all writers were meant to self-publish. Not all works are good for traditional. This series is a guide to help you accomplish much more with far less effort. Feel free to take one (use WANA 15 for $15 off), but if you take all three in the BUNDLE? The cost is a lot less (and notes and recordings are provided for free for all classes).

Anyway…

What are your thoughts? Which parts of the H.E.A.R.T. are hardest for you? Do you put everyone and everything ahead of writing? Are you feeling pressured and strapped for time? Need help going a thicker skin? Feel at war with family or friends over your desire to write?

I LOVE hearing from you!

To prove it and show my love, for the month of AUGUST, everyone who leaves a comment I will put your name in a hat. If you comment and link back to my blog on your blog, you get your name in the hat twice. What do you win? The unvarnished truth from yours truly. I will pick a winner once a month and it will be a critique of the first 20 pages of your novel, or your query letter, or your synopsis (5 pages or less).

ANNOUNCEMENTS:

For those who need help building a platform and keeping it SIMPLE here’s my newest social media book, Rise of the Machines–Human Authors in a Digital World is NOW AVAILABLE. Only $6.99.

Kirk

Whenever I blog about craft, I’m coming from the perspective of a long-time editor. I do understand that the creation process is vastly different from the editing process. I know this because I’ve been on both sides. But, if you want to minimize revisions and rewrites, it helps to have some basic editorial skills in your toolbox.

Since many of you might want to pursue self-publishing, you’re wise to hire an outside editor. The cleaner the text, the lower the bill. Even if you want an agent or to traditionally publish, the tighter the writing, the better the odds your work will earn positive attention.

Line-edit is important and no longer my area of expertise. I put commas everywhere and pay other editors the move them where they need to be. Typos happen even to the best of us. Right now, I’m editing my almost 100,000 word mystery-thriller and *head desk*. We all need a good editor. In the past 12 months, I’ve written well over 600,000 words. Yet, even with all this practice? I oops. You will oops. It happens.

Today, we’re going to talk about ways to up the tension and conflict. Conflict is what draws a reader in, what keeps them turning pages. When the conflict lags, so does the reader’s attention span. A good beta reader or content editor is a great ally for spotting these literary doldrums. I’m here to offer some guidance how be your own content editor before you pass your work onto another pair of eyes.

Tip #1—Perfect is Boring

Everyone has baggage and people who don’t aren’t the mettle of great fiction. Decisions are driven by life experiences good and bad (for fiction, bad experiences are more interesting). We don’t need to have a character who was beaten in foster care to have “issues.” We’ve all had our hearts broken, been betrayed, or even been around people who measure us against impossible standards.

A character can be impulsive because she came from a household that was far too structured. He can refuse to trust because his last job brought him in for a glowing quarterly review, only to fire him the next week. She can refuse to give in to love because she’s been self-sufficient so long she fears losing freedom.

Never underestimate the little things that can propel decisions (particularly bad ones). Many readers can’t relate to fifteen years of horrific sexual abuse, but they can easily relate to a parent, guardian or former love who was never pleased and withheld affection. They can connect to a character who’s deeply insecure because of being compared to a sibling.

I’m not saying we can’t have characters with nightmare backgrounds, but it isn’t mandatory. What is mandatory is that a character arc. If we begin with a fully actualized protagonist, then there is no way to grow, thus no crucible. The plot problem should be what fires away character flaws (refusing to be a team-player, unwillingness to trust, blind loyalty, etc.) and transforms a protagonist into a hero.

Tip #2—Some Personalities Naturally Clash

Every scene should have conflict. Conflict doesn’t need to be aggressive. Allies are often the best source of conflict in our arsenal. Think of the Pirates of the Caribbean movies. Captain Jack Sparrow isn’t the protagonist, but he creates a lot of tension because he’s utterly unpredictable. Allies never know if he’s going to sell them out to the bad guy, and often when he does, he comes to the rescue. He’s completely selfish, or is he?

If your protagonist is a paladin—embraces order and predictability, follows the rules, doesn’t like surprises—then a natural ally would be the maverick/loose cannon, the character who believes rules are “more guidelines.”

According to the Myers-Briggs, I score dead-even as an ENFP or INFP. While the MB jury is out as to whether I am an introvert or extrovert, I am off the charts on intuition. I make most of my decisions based off my gut. This gives my mom and brother—both ESTJs—a twitch. Why? We are polar opposites. I could care less about graphs, numbers and charts. My mantra?

There are lies, damn lies and statistics. ~Mark Twain

But? My mom, brother and yes, my husband, looooooove charts, Excel and bar graphs. Those closest to me process information and make decisions very differently than I do. This means, if I want them to be on the same page as I am? I have to write lists, show numbers, etc. Otherwise? We might as well be speaking two different languages. I speak the heart and they speak the head…and trust me when I say this has lead to a lot of conflict and misunderstandings.

Think Captain Kirk (all instincts) and Spock (all logic). We don’t need a ship of ticked off Klingons for all the tension. The dynamics between Kirk and Spock also propel the story and generate dramatic tension.

You're being highly illogical.
You’re being highly illogical.

If your character is a homebody? Pair her with a nomad. If he’s a rebel? Pair him with a rule-follower. You get the idea :D.

Tip #3—Nothing Worth Having Comes Easily

There is a difference between a “bad situation” and “conflict.” I recently beta read a book and part of my feedback was, “Everyone gets along too much.” Always run this simple litmus test:

“My character wants X, but then Y happens.”

It can be big stuff. Your character finds a key piece of evidence but then bad guys show and torch the place along with the proof of murder before a CSI team can get there. It can even be little stuff. Your protagonist needs to be able to unravel some problem and can’t think with noise, but one of her allies babbles like an idiot when nervous. Setbacks and roadblocks will intensify a story. Get your protagonist so close to what she wants she can taste it, then take it away.

Image via Pixar's movie "Finding Nemo"
Image via Pixar’s movie “Finding Nemo”

Also, by mixing big problems with small problems, you will be able to better control the pacing of a story. If everything is a fight scene or car chase, it not only wears out a reader, it can quickly get boring. That is actually my complaint with the later Pirates of the Caribbean movies. Great stories, but another sword fight? I could only watch Sparrow swinging from ropes so long before it became tedious.

Whenever I do content edit, these are some of the areas I hunt for. A victim writer might get comments like “Too perfect” “Okay, I’m asleep” “Nothing happening” “Why does everyone get along so well?” Yet, whenever you do your own revisions, these are areas you can easily fix yourself. Even I am slashing through my novel looking for the Doldrums of Nothing Happening.

Do you have personalities that just hit you like industrial sandpaper? Maybe you are highly organized, but have a sibling couldn’t find her own butt with a flashlight and Google Maps? Can you think of people you know, but there is conflict because you process information differently? Is your partner (spouse, boyfriend, girlfriend, etc.) a person you like, if they didn’t drive you NUTS?

I LOVE hearing from you!

To prove it and show my love, for the month of January, everyone who leaves a comment I will put your name in a hat. If you comment and link back to my blog on your blog, you get your name in the hat twice. What do you win? The unvarnished truth from yours truly. I will pick a winner once a month and it will be a critique of the first 20 pages of your novelor your query letter, or your synopsis (5 pages or less)

I hope you guys will check out my latest book Rise of the Machines–Human Authors in a Digital World and get prepared for 2014!!!!

Thank you Parks Australia for the image.

A couple of weeks ago, I started a new series that I called Don’t Eat the Butt. Why? Because typing “butt” makes me giggle. No, I think there are some important lessons here, so let me explain. I have always found the puffer fish fascinating. For those who choose to eat the puffer fish, there is only ONE TINY PART of the puffer fish that is not deadly. Oh, and if you don’t know how to cut a puffer fish correctly, you can unwittingly unleash deadly poison into the non-poisonous part.

Take a bite! I dare ya!

Herb: Hey, this puffer fish kind of tastes like chick–…*grabs throat and falls over*

Fred: Note to self. Don’t eat the butt.

This idea of the puffer fish made me start thinking about our careers as artists. There are a lot of common misperceptions that can leak poison into our dreams if we aren’t careful. Thus, this series is designed to help you guys spot the toxic beliefs that can KILL a writing career. You might have heard the saying, Don’t drink the Kool-Aid. Well, I am saying, Don’t Eat the Butt. 

Some of us have been there, done that and got the butt-tasting T-shirt. I am here to hand down what I have learned from being stupid enough to eat the Literary Puffer Butt and survive. Watch, listen and LEARN. The smart writer learns from her mistakes, but the wise writer learns from the mistakes of others.

Without further ado…

Don’t Eat the Butt Lesson #3–Persistence can look a lot like stupid.

The successful writer is the one who never gives up. Yeah, uh…no. This lesson is a bit tricky since, of course, the ability to stick to something is a major factor in success. But, as I like to say, “Persistence can look a lot like stupid.”

For those of you who follow this blog, I hope you took time to read Wednesday’s post The Future of Publishing–Bracing for Impact. Why do I mention this post? Because traditional publishing is certainly not giving up…on an old, wasteful, utterly uncompetitive paradigm. They are being persistent, all right. They are being persistent to the point of making dumb moves like “agency pricing” and clinging to the printed book in a digital world. The Big Six are doing what has worked for decades, oblivious to the changes all around that are about to spell their doom. What do you call the publisher who never gives up (on a flawed business model)?

Extinct.

Big Publishing is currently eating the butt. They saw the music industry eat the Music Puffer Butt and DIE, then the film industry dined on some Kodak Puffer Butt and DIED, and, in the midst of all these dead bodies industries, The Big Six are pulling up a chair and ordering the Literary Puffer Butt thinking they are the special exception. So let us at least be smart enough to learn from all this carnage.

Literary Puffer Butt KILLS.

Okay, moving on…

I believe in persistence, but we need to always make sure it is a smart persistence, an informed persistence, an honest persistence. I love Konrath’s quote, “What do you call the writer who never gives up? Published.” I totally agree, but this really great quote needs a little bit of clarification. Persistence alone (as we are seeing with Big Publishing) can be a disaster. It can make us get tunnel-vision and fail to see that we are on a dead-end road to destruction.

I teach at a lot of conferences, and every year I see the same people with the same books that have been rejected 624 times. They bring the same book to critique and redo the makeup on a corpse that they drag around even though it has started to stink up the place. Granted, some don’t keep querying the corpse, they self-publish it, and, even though it has only sold ten copies (all to their mother), they keep retooling the marketing plan, placing all their future hopes in one book. They remain loyal to a dead novel instead of taking it as the learning experience that it is and moving on to write more books and better books.

We all need to learn to be persistent. Persistence is a mark of maturity and character. Amateurs and infants drift from shiny thing to new shiny thing; professionals stay the course. But while persistence is noble, it must always be taken with a solid dose of reality. We need to stop, take an honest look at the situation, whatever that situation might be, and then be unafraid to ask the hard questions. We must invite real criticism even when we know it likely could sting like hell. And, after we’ve gotten a candid assessment of our novel or business plan or our dream to create the world’s largest Twister board? Then it is time to genuinely seek guidance from others to make a new plan, a better plan.

In the end? Friends don’t let friends eat Literary Puffer Butt.

So I have mentioned clinging to the same novel and reworking again and again as an instance of Literary Puffer Butt. What do you think? What other Literary Puffer Butt is lurking out there on the buffet that we might need to look out for? Have you eaten Literary Puffer Butt and lived to tell the tale? Share your story of survival. Have you saved a friend or family member from Literary Puffer Butt? And, yes, I am having way too much fun typing Literary Puffer Butt :D.

I LOVE hearing from you!

And to prove it and show my love, for the month of February, everyone who leaves a comment I will put your name in a hat. If you comment and link back to my blog on your blog, you get your name in the hat twice. If you leave a comment, and link back to my blog, and mention my book We Are Not Alone in your blog…you get your name in the hat THREE times. What do you win? The unvarnished truth from yours truly.

I will pick a winner every week for a critique of your first five pages. At the end of February I will pick a winner for the grand prize. A free critique from me on the first 15 pages of your novel. Good luck!

I also hope you pick up copies of my best-selling books We Are Not Alone–The Writer’s Guide to Social Media and Are You There, Blog? It’s Me, Writer . Both books are ON SALE for $4.99!!!! And both are recommended by the hottest agents and biggest authors in the biz. My methods teach you how to make building your author platform FUN. Build a platform and still have time left to write great books.

The topic for today is an interesting one and even possibly controversial. Editing is great, but it can KILL any kind of writing, whether it is fiction or non-fiction. I am currently participating in #nanowrimo. One consistent post I see looks like this. “Looked at the pages I wrote last week and now editing. What crap”…or something to that effect.

Editing too early can kill a novel. Yes, editing can be devastating to shorter works, but doesn’t have quite the killing power it possesses when introduced into longer works. In a novel that can span anywhere from 60-120,000 words (depending on genre), editing can be catastrophic if done at the wrong phase.

If you are writing a novel, you need to leave any kind of edit for once you have finished the entire first draft. Breathe. Get a paper bag. You will be okay. Just trust me. I learned stuff the hard way. I suffered so you don’t have to.

Now is it okay to reread what you have written in order to get grounded? Sure. And when you reread, feel free to correct any spelling, punctuation and grammar errors. It is okay to make notes of things you believe at the time should be fixed or even expounded. But don’t you dare hit that backspace button. Nothing gets deleted. Period. Feel free to highlight. Make a note that you believe something should be taken out at a later time, but leave it be. Also, anything you decide needs to be added needs to be written in any color other than your main document. Red, purple, blue. Doesn’t matter. Just make it a different color.

Yesterday, when I reviewed previous pages, I realized I’d divulged a tad too much information too early for my mystery-thriller. Instead of spending the entire day reworking the scene, I merely added in a note in red.

Rework this scene to make it seem like they are really after a possible serial killer. Increase tension.

Then I moved on.

Also, I must warn you that this applies to writing after NaNoWriMo. If you take part of your novel to a writing critique group before you are finished with the first draft, then you are taking a HUGE risk. You are asking for people to critique isolated instances out of context. The advice you get might do more harm than good.

You can still get advice, but, if you choose to do so, I recommend that you still follow these rules of editing. Any changes or suggestions need to be inserted in the form of notes (highlight possible deletions and make a notes as to why this section needed a change). Any additions need to be in another color…then sally forth.

Don’t look back, or you will turn into a pillar of unfinished novels.

Premature editing is very dangerous for three reasons:

1. Premature Editing Uproots Subconscious Seeds—Our subconscious mind is an amazing machine. It sees the big picture in ways the conscious mind cannot. As we write, our subconscious mind is planting seeds that, when viewed in a microcosm of one or three chapters, will likely seem to make no sense. Duh. That is like an acorn trying to envision life as a 100 foot tall oak tree.

These seeds need time to gestate. When we edit prematurely, all we see is a hunk of something smooshy. We don’t realize that a possibly mind-blowing idea is trying to germinate and take root in the fertile soil of our story. By editing too early, we can possibly cripple our novel. By the end of the first draft, however, we will be able to look back and see sprouted weeds, which we can feel free to uproot. But the sprouts will be mature enough to distinguish from seedlings that need to be nurtured to their full potential.

This is especially true for those of you who did at least a basic plot of your main narrative points. When we do this, we have basically told our subconscious we need to make it from Point A to Point B (Inciting Incident to Turning Point Act One). Sometimes, our subconscious will want to show off and can dazzle us with how creatively it can make the trip.

So let it alone. Your subconscious could surprise you.

2.  Premature Editing Makes Us Mistake Busy Work for Real Work—Premature editing indulges our fears. Many times we writers do not continue forward due to subconscious fear. Deep down we might know our original idea is flawed, or not strong enough, or convoluted, or unclear. We may know that we don’t have a solid outline or framework to support a 100K words. We may realize our characters have problems, but it is going to take work and honesty to fix them. Or all of that might be just fine, but we fear failure or even success. We fear writing the gritty stuff because it leaves us exposed and vulnerable, or we fear writing real conflict because our human nature is to avoid it.

Premature editing gives us a false belief that we are being productive, when in fact it is sabotaging our work and reinforcing our fears by permitting us to procrastinate. Fears can only be conquered by facing them, and premature editing keeps us “busy” and gives us justification to stay mired.

 3.  Premature Editing Can Discourage and Keep a Writer from Finishing—This is another reason that traditional critique groups can be counter-productive. Again, other writers are seeing our work in a microcosm, and that limits how well they can critique. This is why I suggest using the techniques we discussed earlier. Just make notes.

Our fellow writers are invaluable, but we have to appreciate that they are seeing our work from a limited point of view. Their opinions may be dead-on (We HATE your protagonist and hope he dies), but they could be far off-base and serve only to uproot those subconscious seeds we discussed.

If we continue to go back changing things chapter by chapter, changing, changing, changing, either due to critique group feedback or our own self-edit, what happens is that we KILL our forward momentum with a big ol’ red-penning, back-spacing bone saw.  Do that long enough, and it becomes hard not to be discouraged and ultimately give up. If you have been reworking the first act of your book for months, it can very easily end up in the drawer with all the other unfinished works.

When it comes to NaNoWriMo, the point is to write 50,000 words in thirty days. That’s it. You can’t do this if you over think your work. If you hit a wall, just keep writing. Sometimes our brains are like water pumps. We need to prime them and get through the goo before the creativity flows. Just write. You can fix it later. Or, you can start over.

Doesn’t matter.

For those participating in NaNoWriMo, you need to remain focused on the entire point of NaNoWriMo…word count. That might not seem like enough, but trust me it is. Becoming disciplined enough to generate respectable word count and adhere to self-imposed deadlines is the clincher to doing this writing thing for a career. No publishing house will sign a writer who writes only when she “feels like it.”

NaNoWriMo is “career day” and newer writers get a taste of what it’s like to be an author. Career authors have to say no to family and friends, set boundaries and write no matter what…just like Nano. Professionals also have to learn to not edit too quickly. That is yet another valuable lesson from NaNoWriMo. So embrace the experience for what it is and let go of perfection for now.

So put down the red pen and use the Delete Key with care. With great power comes great responsibility. And, most of all, relax and have fun.

Time to hear from you guys, What do you love about editing? What do you hate? Do you have any tips or suggestions? War stories you’d like to share?

I do want to hear from you guys!

And to prove it and show my love, for the month of November, everyone who leaves a comment I will put your name in a hat. If you comment and link back to my blog on your blog, you get your name in the hat twice. If you leave a comment, and link back to my blog, and mention my book We Are Not Alone in your blog…you get your name in the hat THREE times. What do you win? The unvarnished truth from yours truly.

I will pick a winner every week for a critique of your first five pages. At the end of October I will pick a winner for the grand prize. A free critique from me on the first 15 pages of your novel. Good luck!

I also hope you pick up copies of my best-selling books We Are Not Alone–The Writer’s Guide to Social Media and Are You There, Blog? It’s Me, Writer . Both books are ON SALE for $4.99!!!! And both are recommended by the hottest agents and biggest authors in th biz. My methods teach you how to make building your author platform FUN. Build a platform and still have time left to write great books!