Susan Crandall | Author of Fiction

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Finding a Critique Partner, It’s Like Dating, Only Harder (Part One)

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Part One | Part Two | Part Three | Part Four

Finding the Right Critique Partner (Like Any Partner) is Worth It

Critique PartnerWe’ve all been there, or at least watched uncomfortably as we saw one unfold in a movie, that awkward first date. The eternity after the doorbell is answered before one of you figures out what to do or say—or worse the rush of inane comments that bump into one another like strangers on a subway. So many questions swimming in our heads: Was my last comment as utterly stupid to his/her ears as it was to mine? I’m (or She’s) a modern woman, so who’s going to pick up the tab? Is there spinach in my teeth? Of course, prior to those dilemmas you must first find someone to ask out.

Sometimes I wish there was an Internet “dating site” to find critique partners, sort and catalog us by experience, type of writing, genre, writing goals, what you like to read … maybe even IQ??? Not that the chances of finding “true love” would be any easier than if you were searching for a life partner, but you’d at least have a solid place to start.

Having been through many critiquing first dates and many break-ups (all of which should have come much sooner than they did) during my writing career, I thought I’d pass along what I’ve learned.

Compliment SandwichIt isn’t easy to hear criticism, no matter how gently stated or constructive, of your work, your creative baby. But if you’re to grow as a writer, you must learn not to let it cripple your creativity—or light your fuse. You have to devise a way to step beyond the emotion and appreciate the opportunity to view your work through another set of eyes, skills and values. If you can’t, critiquing with another writer is definitely not for you. If you want nothing but praise, ask your mother for feedback. A good rule: never show your work unless you’re ready to hear what is wrong with it. Perfection is an ideal; you’re not going to find it in your own writing, nor will you find it in a critique partner or a spouse. The only way to achieve a happily-ever-after is to strive toward that goal and learn to live within human limitations.

Here’s another perk that comes from critiquing another writer’s work. Every time I critique someone else’s work or judge a contest, I learn something new about my own writing. There’s nothing like reading with a critical eye to enhance your perspective of your own work.

Just as you shouldn’t change who you are to accommodate that first dater, feedback needs to be considered before you act. Simply because someone is a writer that doesn’t mean their opinion is right, nor should it override your own—no matter how strongly they state it. I’ve discovered there tends to be two distinct reactions to this feedback: 1) A knee jerk reaction to accommodate every criticism; the blind race to make changes; or 2) The immediate fevered and defensive response explaining why your way is the only way. May I state, neither of these serves the writer, or the work. Feedback needs to simmer. It’s best to get over your initial response (whatever it is), step back and carefully analyze the comment, before making any change beyond a spelling correction.

As for offering your own wise opinion of your partner’s work, remember, creative writing isn’t math. There isn’t an absolute right answer. It’s important to understand the basic rules of grammar, etc., but even those are occasionally broken to achieve a goal. (Of course, you have to know the rules before you can develop the kind of judgment needed to make that call.) Your job as a critique partner is to offer an observation, a suggestion, open a discussion; not rewrite another’s work. I have been with my critique partners a long, long while. We’ve dispensed with the “compliment sandwich,” and yet the same regard for their creative process needs to be observed. We all have very different writing styles and voices, that’s what makes us successful. If you react to all feedback, you can easily write any personality out of your prose. Critique comments should be a springboard to open a dialog; quite often the real problem isn’t revealed in the original comment, but only comes into clarity through discussion.

Each day this week (through Thursday), I’ll discuss part of the process of finding a critique partner. Check back tomorrow for Part Two: The Search!

Part One | Part Two | Part Three | Part Four

Writing Deadline Snack Analysis … A not so Scientific Study

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Every Writing Deadline Needs a Snack

Writing Deadline Snack

But how to quantify the value of my snack of the book? Tastiness? Weight gain? How nasty my fingers make my keyboard?

Each book has had its own deadline snack. WHISTLING PAST THE GRAVEYARD had a variety of subgroups in the general category of puffed corn snacks. Overall, judging by my agent’s enthusiastic response and the fact that my book was finished over two weeks prior to deadline (something unheard of in Susan’s writing world), I’d say the puffed corn snack is a winner.

Weight gain: this one comes in below my previous snacks. But really, it could be the shortening of the process by those two weeks. Should I continue to pig out until the actual deadline in order to accurately compare? I think not. I am finishing the final bag as I write this blog. Farewell ridiculous eating habits … until we meet again next deadline.

Tastiness: Now I must compare subgroups. I’ve assembled a pros and cons list by product.

Mike-sells Theater Butter Puffcorn Delites
Pros:

  • Fiscally responsible. At $2.00 a bag it’s a deal, but I bought mine on sale, so whoo-hoo.
  • Yummy.
  • No orange finger and lip residue as evidenced by this product’s cousin, Puffcorn Delites Cheddar.Husband says they taste like Styrofoam, so he keeps his mitts off.
  • Single bite size, no extra effort to bite off nibbles.
  • Zero trans fat… but that’s what they all say!

Cons:

  • Although no orange finger residue, plenty of yellowish stuff to mess up my keyboard. Even so, there’s also a pro here; I have to get up and rinse my fingers off frequently… the only exercise I get on deadline.
  • Bag indicates 5 servings per bag. I found it to actually be a 2 serving bag.

Mike-sells Cheddar Puffcorn Delites
Pros:

  • Good price point as above.
  • Single bite size.
  • A little tastier than Butter cousin.
  • Fewer calories than Butter cousin.
  • Hubby still keeps mitts off.
  • Also yummy.

Cons:

  • REALLY orange fingers.
  • Everyone can tell I’ve been eating them from orange lips.
  • Bag misleading by calling them delites and not delights, which is much more accurate—take it from me, I’m a wordsmith.
  • Again, bag indicates 5 servings. This one had only 2 as well.

Cheetos Simply Natural White Cheddar Puffs
Pros:

  • No artificial colors.
  • Really yummy.
  • Natural… so it’ health food.
  • No orange fingers.
  • Denser texture than both Delites cousins, more substance and chewing.
  • I like Chester, he’s cool.

Cons:

  • Pricey at $3.99 per bag—although you do get 2 more oz than Delites.
  • Long Cheeto shape requires taking bites, not just popping into mouth.
  • This bag indicates 8 servings, I discovered it holds 3.

It all boils down to this: puffed corn in any form is delicious and stimulates creative brain activity. Plus the doing the not so scientific study made it feel less like I was overeating—I’m the queen of justification.

Feed a Cold, Feed a Fever, Feed a Deadline

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Deadline SnacksThose of you who have followed my progress from book to book, you’re aware of my “snack of the book.” For those of you who are new, or newish, to my website and my progression, the snack of the book is listed on each book page on my website. The last 4-6 weeks before a book deadline, I do very little except write, eat and shower—and eat and write. That said, I usually uber-indulge in a writing snack that hits me as particularly tasty at the time. And I mean indulge. We joke at my house, we count on two things deadline month, low credit card bills and me gaining ten pounds.

Well, a deadline is looming. I have four weeks until WHISTLING PAST THE GRAVEYARD is due. Here’s a photo of my last grocery run. I’d like some credit for admitting this ridiculousness to the public. And I’ll probably have to send my husband out for more before the book is finished.

For WHISTLING PAST THE GRAVEYARD’s deadline I’m on a puffed corn snack kick. I picked up several different varieties, several different brands. Over the next days and weeks, I plan to post a review to contrast and compare the qualities of each, so stay tuned for critiques. And don’t forget to check out the deadline snacks of my previous books.

*This is a non-scientific, totally biased, based solely by my taste buds study.

Writing: How Susan Got Her Groove Back

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Whistling Past the Graveyard ManuscriptFirst of all, let me apologize for cobbling onto a great title… Sorry Stella and your maker. But I can’t think of a more clear way to put this. When I began writing solely for the love of it, every time I opened the file for the novel I was working on, my heart would flutter just a little in anticipation of the pure joy of the writing process.

Then came contracts (a good thing!). And publisher expectations for books in the same genre (which makes business sense in all sorts of ways, but sometimes makes a writer orphan a great book idea in the process). And deadlines. And copy edits slammed against those deadlines. (For those of you who aren’t writers, there is a long process of shuttling a manuscript back and forth between editors and writers after the initial deadline… all with deadlines of their own.) And promotion. Please don’t take this as complaining. It’s a simple statement of fact. I’m thrilled to have been lucky enough to be in this position, believe me. Writing is, and always will be a passion for me.

Somewhere in the past ten years that little zing I got when opening a file to work on a manuscript became muted. I still loved the writing process, and yet that thrill of anticipation was… not missing, more like quieted.

After SLEEP NO MORE, I wasn’t under any contractual obligations. The world was my oyster (as far as I can discover, a version of this saying was first recorded in Wm. Shakespeare’s work, go figure). I could write whatever kind of book I wanted to. But — yes, there’s always a but — I felt I needed to deliver something similar to build on my readership. What direction did I want to take? Women’s fiction? Suspense? There’s a downside to the freedom to do whatever you want — you have to make a decision. And it turned out it’s not as easy as I’d anticipated.

I had a story idea. It could swing either way. I started writing it as suspense. After about seven months of struggling with it, I decided the suspense aspect just wasn’t coming together. So I went back and tried re-writing to make it work. It didn’t. Then I decided these characters and their problems were much better suited for women’s fiction. I went back and rewrote again. Closer. Still too much of a mash-up. I’d been working on this book for a year and still didn’t have it. I needed distance.

Meanwhile, a character had been playing in my head, telling me her story in her own very unique voice. Not women’s fiction. Not suspense. Not like anything I’d ever written. A child narrator. A 1960s setting. Publishing fiction is precarious at the moment — dare I take the risk? Then I remembered the world was my oyster. Doesn’t happen every day. Given this opportunity, I decided to seize it.

WHISTING PAST THE GRAVEYARD was born. After discussions with my agent regarding the dangers of using first person, single point of view from a nine-year-old girl, I decided that was still how this story must be told. Dangerous? Yes, absolutely (industry wise). And yet, I’d tried it other ways and always ended up going back to my original approach.

To Kill A Mockingbird Book CoverThis book is told by nine year old Starla, in her own words… as a nine year old. Not from her adult perspective years later as many child narrated stories are told (think TO KILL A MOCKINGBIRD). Starla was speaking as a child (think ADVENTURES OF HUCKLEBERRY FINN), from her child’s perspective as she grapples with her own family issues and tries to understand the wider world. It’s a coming of age story, and yet Starla isn’t the only person who comes into her own. After running away from home, she’s aided by Eula, a black woman suffering from heartbreak and abuse. Together they bridge each other’s weaknesses, survive in a world in which neither of them have available to them today’s protections.

This book recently sold to Gallery Books / Simon and Schuster in a pre-empt (a very good thing). It isn’t finished yet, but I don’t dread of my upcoming deadline. Each and every time I open this file to work, I get that little skip in my heart, that thrum of anticipation. Giving over to this book, with no promise of publication, is how Susan got her groove back.

Writing: Why I Write Outdoors

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Susan Crandall Writing Outdoors

The Screened-In Porch: A Lovely Place to Write. Outside. No Bugs.

Once when I was in New York City discussing my career with my editor and her boss, I told them that whenever possible—and by possible I mean frostbite free and not too hot to melt my laptop—I choose to write outdoors.  Their expressions bordered on horror.  Naturally, those expressions were followed by the question, “Why?”

Well, now that was a question I’d never envisioned anyone asking.  And quite honestly, I’d never actually asked myself.  I’d always assumed everyone wanted to be outdoors if at all possible.  Apparently not so for those who dwell in Manhattan.  And to be both honest and fair, if I dwelt there, outdoors would probably slide way down on my list too.  (I’d also probably go insane from lack of sunlight on my skin).  I’ve been to NYC only in extreme seasons, January and cold enough to freeze a witches’ ta-tas and dead of summer when there’s no way on God’s green earth they can pick up the garbage fast enough.  In a nutshell, I am clearly NOT a city dweller.

Working Outdoors

Cleaning Lawnmower Parts: Also working outdoors, but NOT writing outdoors. Some of my best writing is done outside, while completely away from the keyboard.

To me, writing outdoors feels natural. I need green.  I need to feel the breeze on my skin. And apparently, I’m not the only one. When I’m writing a scene or a chapter and become stuck, I head out to cut the grass or dig in the dirt.  When I need to know what it’s like for my character to run through the woods in the dark barefooted, I take a midnight hike.  (I tend to choose small town or rural settings when writing my books too.) When I want to lose myself in another soul (as we writers do when we’re firing on all cylinders), I do it outside.  I even had a balcony built outside my office.  It’s on the south side of the house and stays warm on chilly afternoons.  Outdoors I’m away from distractions: the laundry, the phone, the I’ll-just-go-scrub-that-toilet-while-I-think excuse for leaving my computer.  And of course, safely away from the call of the refrigerator and pantry filled with snacks.

Outdoors I am free.  I can be anyone I want to be.  I can be anywhere I want to be.  And to be truthful, I don’t feel like I’m working when I’m outdoors.  The time flies.  The pages amass.  I’’m lucky to be able to do what I love for a living.  I’m luckier still to be able to do it mostly outdoors.

If I wasn’t writing, I think I’d like to be a farmer—the crop raising kind, because I couldn’t bear the cycle of livestock rearing.  Outdoors.  Love it.

Publishing Novels: The Long and Winding Road

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One of the big decisions for a wedding reception is what tunes to spin for those special dedicated dances. When my son was married a few years ago, I had a back up song in my mind, just in case he couldn’t decide on one. He would have been mortified with my pick, so I’m glad he chose The Beatles’ “The Long and Winding Road.” It was fitting in so many ways. For those of you who can’t stand not knowing what I would have inflicted upon him, my pick was Rascal Flatts’ “My Wish.” My son the indie rocker is no country music fan, so it worked out. I’ve thought about his choice on many occasions since that beautiful day and I’ve decided this is a song for life.

Paths not taken. Roads that veer away from due north. The chance meeting that changes a life. We’ve all been there on some level. My entire writing career has been a very winding road. First of all, it wasn’t the path I set out on; it was one that appeared at my feet one day (my little sister laid it there) when I was a mother of two grade-schoolers and not particularly looking for a new life path. Still, without hesitation, I turned and took that path. I followed my gut and my gut alone. I was a science major. What did I know about writing a novel? But a novel it was, nothing else appealed, not essays or short stories—guess I’m far too long winded.

Then came the “chance meeting” that gave me a shove in the direction that would finally lead to publication. I wrote a fan letter laced with a few crucial writing questions to a prominent and popular author, which led to an unexpected phone call… which led to an on-line writing group (which then led to my now longtime friend and critique partner Karen White) and to Romance Writers of America. Now I was learning! And yet, it would still be several more years and four more unpublished novels before my first award winning novel, BACK ROADS, landed on the shelves at bookstores everywhere, as they say.

After I signed a contact with a Warner Books, I visited their offices in the Time Warner Building. When I stepped into their conference room, I was stunned. I was standing in a room I’d seen on 60 Minutes when they did a piece on Nicholas Sparks. I remembered watching it and thinking “wouldn’t it be cool if my book was discussed in a room like that.” And, as that road winds yet again, it turned out that was where the decision to purchase BACK ROADS was made. Gave me shivers!

BACK ROADS was followed by eight more women’s fiction novels. All published by Warner Books, now Grand Central Publishing. I was fortunate enough to work with the same editor for all nine.
And now, another change of path. I’m working on a book that is entirely different from any I’ve done before—and I’m loving it! I recently contracted with Gallery, an imprint of Simon and Schuster for publication of this novel, WHISTLING PAST THE GRAVEYARD. It’s slated for July 2013. And guess who my new editor is? I’m thrilled to say, it’s the same editor I’d worked with at Grand Central! Our paths cross unexpectedly yet again on the long and winding road.

Aspiring Writers’ Road to Publication: Step 1 Query

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There is never a shortage of aspiring writers out there wondering how to break in to the publishing industry. We’re in a rapidly changing world when it comes to publishing fiction, so keep your eyes open for new and unexpected opportunities. Because I’ve traveled the road to traditional print publishing through a large publishing house, I’ll address that path. Many small presses and e-publishers are popping up, and shouldn’t be ignored. I think the professional approach I’m suggesting will work well no matter who your target publisher is.

The Polished Manuscript

An aspiring writer needs a polished manuscript, and I do mean you’ve done all you can to eliminate annoying errors as well as polished the prose. This manuscript will be your representative out there in the world. It should make you proud. Many aspiring writers are so excited for publication, they submit their work before it is ready. Don’t give in to the temptation.

Research

Before aspiring writers send a manuscript, they will want to do some research to hone in on those houses who publish or agents who represent the type of work they’re trying to market. Different publishers can specialize in different genres (mainstream fiction, sci-fi, mystery, romance, etc. and all of their sub-genres). There are tools on the internet like AgentQuery.com, which can assist aspiring writers in the process. But the old fashioned way works, too: Look in the acknowledgement page of your favorite novels. Most authors will thank their agents and editors.

Aspiring Writers (Usually) Should Not Submit to the Publisher

The aspiring writers’ directly submitted novel is not likely to be read. Most large publishing houses don’t review unagented material. Nothing personal against aspiring writers, it’s simply a way to sift through the mountains of manuscripts they receive each month. Essentially, the agent does some of the vetting. The writer’s time is better spent partnering with a literary agent. It createss the highest chance of publication.

Query Letter

For both literary agents and publishers (via the agent) your first contact will be a short, simple query letter. The letter should be delivered either by mail or email. Research to find out how the agent being approached prefers to receive submissions.

A query letter should be kept to a single page. All the writer needs is to catch the agent’s interest. Do not deliver an entire synopsis of your book. Again, this is the only thing an editor or an agent will know about you. Be professional in your presentation and your tone.

Open with who you are, what writing credits you already have (previously published short stories, novels, articles, etc.) If you’ve won any writing competitions, list them. This alone is a good reason to enter contests. Are you a creative writing major? Have you attended intensive writing workshops? Include anything that says you’re serious about your work. Don’t panic if you don’t have any of these. I only had the workshop thing and some contest recognition when I started. This is also a good place to mention if you have any special insight to your subject matter. The paragraph should state what you’re presenting for consideration (a 100,000 word romantic suspense novel; a 85,000 word Regency period historical romance; a 120,000 word contemporary action adventure novel set in Monte Carlo).

The next paragraph should be your hook for your novel. Think of it as a back cover blurb. Stick to the main character, the main plot thread. Here’s an example from my query for BACK ROADS, my first published novel:

Sheriff Leigh Mitchell must face the unimaginable, the disappearance of a young woman from her quiet community. Will Scott, self proclaimed drifter, arrives in Glens Crossing at precisely the wrong moment.