3 Ways to Determine if Your Writing is Crap

I have a new favorite writing book: 77 Reasons Why Your Book Was Rejected (and how to make sure it won’t happen again) by Mike Nappa.

Out of the blue, I received a complimentary copy in the mail a few weeks ago. Up until that point, I didn’t even know the book existed. So kudos to whoever is behind the marketing of the book (your strategy worked!). Because after reading through some of the book, I really liked it and think it can be a great help to writers struggling to break in to traditional publication.

Mike is the founder and chief literary agent Nappaland Literary. He’s worked as an acquisition editor for three publishers. In addition, he’s published more than forty books. At the same time, however, he admits he’s personally received more than 2000 rejections for his book ideas.

“It takes less than a minute to reject your book.” Yes, that’s Mike’s first statement in his introduction. He goes on to list all of the reasons why various agents and publishers reject manuscripts in short, easy-to-read chapters.

The No. 1 reason why books get rejected (at least from Mike’s perspective) is because “Your Writing Is Crap.” Although he readily admits crap does indeed get published, he argues that it won’t happen to most writers. In his candid style he says, “If you send me crap writing, I’m going to reject you. And I’m not even going to feel bad about it. I’ll feel like I’m doing humanity a service by keeping your stinky excrement off bookshelves everywhere.”

Mike defines crap writing as:

• Sloppy thinking
• A vain or irrelevant message
• Content that is poorly organized
• Presentation that is clunky
• Word choices that are abysmal

But the question most writers have is this, “How do I know if my writing is crap?”

I struggled with that question before sending my manuscript to agents and editors. We usually finish our books, sit back and wonder, “How does the quality of my book compare with others? What is my skill level? Am I good enough to get published?”

Most of us don’t want our manuscripts to arrive to an agent, publisher, or even a reader smelling like excrement. So, here are 3 ways we can begin to determine our skill level:

1. Find Beta Readers who are willing to “test” your book or idea.

The readers can be anyone really—friends, acquaintances, co-workers, and family—yes, even your mama. At this point, they don’t have to be skilled writers or editors. You’re merely wanting to get feedback on the story itself and the ideas you’ve developed. Let the beta readers know the purpose of the read is just to test your story. They’re not correcting typos or grammar or the nitty-gritty. They’re providing big-picture thoughts.

The most critical aspect of getting feedback from beta readers is this: they must feel free to be completely honest. Often friends and family are afraid to hurt our feelings by telling us the truth. But getting feedback from beta readers won’t do any good unless they know they can be upfront in telling us if our book is indeed crap. And how many people will really feel comfortable being that honest with us?

The best way to solicit some modicum of truth from beta readers is to provide them with a way to give anonymous feedback. Hand them a sample of your manuscript and attach an anonymous questionnaire with easy-to-answer, big-picture questions like: Did you like the characters? Did you like the direction of the story? Would you keep reading? Why or why not?

2. Find other skilled writers who can offer objective feedback.

Feedback from other writers can come in many forms: critique partnerships or groups, blogging, and even contest judges (who are usually other writers or published authors in the first round). Recently, the creators of Ladies Who Critique contacted me to let me know about their new critique matching service. While I’m not using the service, I think it looks like a fantastic resource for writers searching for critique partners.

This week, I'm sharing about my critique partnership in one of my blog tour stops at Keli Gwyn’s blog. Keli critiqued The Doctor’s Lady (my new release), not once, but twice—and in some places even three times. Although I’m a published author working with a top-notch editing department with a large publisher, Keli’s help and advice in shaping my book was invaluable.

3. Use a freelance editor.

Michelle DeRusha had a recent post in which she explained her choice for using a freelance editor. She said: “Let me tell you, that $450 was the best money I ever spent . . . The editor I hired read and reviewed my manuscript and provided eight pages of chapter by chapter notes on sections to cut, rewrite, repurpose and reorganize.” She eventually went on to land her agent and said, “I don’t believe it would have happened without the help of a professional editor.”( Read the full post here.)

The bottom line is that we can’t see all of the problems in our work on our own. We just can't. (Read this post: Why Most Writers Are Blind to Their Own Faults.) If we want to know if our writing is crap, we’ll have to be open to letting others tell us that painful news.

Wouldn’t you much rather have someone tell you your book is crap before publication rather than after?

How open are you to feedback? Are you willing to take the good AND the bad from beta readers and critique partners? 

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Don't miss out on these blog tour stops! You can WIN my book at both places!

Friday 9/9:  Jill Kemerer is sharing 5 Reasons to Read The Doctor's Lady on her blog! (Pick up Puzzle Piece #4 there!)

Saturday 9/10: Kristie Kiessling asks me what preparation I did for the writing of The Doctor's Lady on her blog! Did I take my family on a covered wagon simulation trip as part of my research? Come find out!

Don't forget to enter my BE A TRAILBLAZER CONTEST!

Baring It All

I don’t know a single person who likes to get undressed at the doctor’s office. I sure don’t. But since I know a yearly exam is important for my health, I don the flimsy hospital gown and force myself to endure the poking and prodding. Since my grandpa died of melanoma, I also have my doctor do a skin check, which means baring every freckle to her critical eye.

I have to admit, I’m always embarrassed to reveal myself in such a personal way. After all, when I’m on the examining table, I’m exposed, vulnerable, unable to hide anything. Every blemish is out in open.

I had a similar sensation when I recently sent my book to my freelance editor and my critique partner—the feeling that I was completely out in the open with everything and under examination for every problem.

I felt naked. I was baring the most intimate parts of the inner workings of my mind. Now they would see all my mistakes and know I’m not a perfect writer, that I have faults beneath the polished veneer. What would they say? What would they think of me now?

I'm having similar trepidation thinking ahead to the release of The Preacher's Bride in a few months. Soon, everyone will get to view my most personal thoughts, my writing, both the good and the bad. What will friends think of me then? Will they like what they see?

Have you ever felt that kind of vulnerability? When we send out our stories for others to read or critique, we’re opening ourselves up and exposing all our imperfections. Embarrassment creeps in, and we cringe at the thought that they’ve seen our naked books. Will they like what they see inspite of the obvious blemishes they’re sure to find?

The reality is that we have to get intense exams on our stories for their well-being. As hard as the scrutiny may be, we need to open up our work to the poking and prodding of those who can evaluate the “health” of our stories.

We have to tell ourselves the discomfort is all worth it, that we’d much rather find the problems early while we can still fix them, instead of waiting until it’s too late and an agent or editor sees those same blemishes.

And we need to brace ourselves for the fact that our stories will have imperfections—quite possibly lots of them. Mine did. Here’s just a sampling of the comments my freelance editor and critique partner found in the manuscript I recently finished:

• “I don’t feel the sense of impending doom (if I’m supposed to feel that). What is it you want me to feel here?”

• “You seem to go in to these info dumps. While well written, after a few lines I find myself skimming.” (OUCH!)

• “So, other than some neat imagery, what was the point of this scene? How did it advance the plot? I kinda hit the end and thought…okay…what happened?” (OUCH!)

• “Your [hero] is coming across as a bully here. . . How could he do this? Is he so selfish that he'd hurt her to save his own pride? I was starting to hope he might be coming around.”

• “I’m no longer marking repetitions of this word, so I’d suggest running a find for it since it is one I see used quite frequently.” (OUCH!)

I have to say, both of these women did an outstanding job sharing positives too. In fact, I’ve teased Keli that every day I wait for her critiqued chapter, that I’m addicted to her smiley face comments and hearing all her impressions of each scene.  (As a side note: Keli is doing a series on critiquing this week. So far she's covered: How to Find Critique Partners and Six Steps for Approaching a Potential Critique Partner. She has some very wise and professional tips.)

Here are my parting thoughts:

*Baring our stories to a few people is embarrassing, but if publication is our goal, then someday we’ll bare it all to the world. Everyone will see everything. We have to get used to the scrutiny, because it’ll only grow more intense.

*If we’re not uncomfortable, if we’re not feeling growing pains, if we’re not getting constructive criticism that prods us, then maybe we need to re-evaluate why. Do we need a new critique partner who can challenge us more? A freelance edit? Is it time to read another writing craft book?

*We can’t get better unless we get vulnerable.

Are you putting your manuscripts under the right amount of scrutiny—the kind that can truly diagnosis what’s wrong? Is it  hard for you to be vulnerable with your writing, or are you getting used to baring it all?

Do Whatever It Takes

Lately, I’ve gotten a few raised eyebrows when I tell people that I’m having my book edited before I turn it in to my publisher. “Why in the world are you getting outside edits, when you have such talented in-house editors who will read your book and give you their excellent feedback?”

Eyebrows inch higher when I inform people I’ve paid my freelance editor to critique my book.

You might wonder, “Why bother? Why go to all the trouble and expense? After all, your book is contracted. It’s a sure thing. It’s not like they’re going to reject it if they think it needs work.”

True. My Bethany House editors won’t reject it. In fact, they’ve already approved my story, read the synopsis for it, and given some initial input. They said they’re looking forward to reading the completed book. So, if they already like it and trust my writing ability, why didn’t I turn it in after I finished my self-editing?

Here’s what it boils down to for me: I’m not satisfied with the status quo. I want to do whatever it takes to make my next book better. I’m not writing it to please my publisher (although I hope it will). I’m not just trying to get by. And I’m not resting secure in my 3-book contract.

Instead, I hope I can create a book that satisfies my readers to the very core of their beings. I want to reach for new heights in my writing and story. And I want to stay on the cutting edge—because I know nothing in this market or industry is stable.

In order to push myself, I need critical feedback from a variety of qualified sources. I can’t read my own book objectively enough to find the issues that need fixing. (I talked about that in this post: Why Every Writer Needs Feedback.) What’s more, if I really hope to improve with each book, then I need to surround myself with team members who each offer a unique perspective but balance one another.

My freelance editor, Tiffany Colter, has been part of my team for a while. She hones in on the bigger scene and story issues that need work. My newest team member, Keli Gwyn, was a former assistant editor, and her strength is in finding the smaller problems.

Tiffany and Keli bring distinct aspects to the critique process. They’re both talented editors, but each looked at my manuscript with very different eyes. And each of their critiques challenged me to take my writing skill and story to the next level.

When I send my book to my Bethany House editors in a couple weeks, they’ll read it and challenge me even more, in different ways. They’ll give their expertise advice on the market, on what readers will like, and what I’ll need to change to make my story as saleable as possible.

In other words, I’ve got a balanced editing team, each bringing critical but differing perspectives to the editing process. In putting my book through a rigorous and intense workout, it's costing me time, money, and effort. But I'm willing to do everything possible to improve.

We all need to do whatever it takes to push ourselves to new heights in our writing and stories. Even if we have what we think is a “sure thing” or “a done deal,” why wouldn’t we want to keep challenging ourselves to be better?

Here are my parting thoughts:

*We’ll never be good enough to stop getting feedback.

*We need to seek out qualified, constructive criticism from those at our level or better.

*We should never be content with status quo, but should be constantly stretching ourselves to reach higher.

How have you challenged yourself lately to do more or to work harder at improving? Are you doing whatever it takes to push yourself higher? Or have you been settling for the status quo?

How to Handle Feedback on Our Writing

Any writer serious about publication NEEDS to get feedback on his or her writing in one form or another. And let’s face it, “feedback” usually translates into “painful revelations about the true reality of our writing skill.”

As much as we like accolades about how we’re on our way to becoming a NYT Best Seller, those kinds of comments won’t help us improve.

And if we happen to be getting feedback from someone that’s more positive than negative, most likely we need to find another critique partner. No matter where we’re at in our writing journeys, we’ll always have a lot of room for improvement, and if we're not getting feedback that painfully stretches us, what good is it?

Only brutal honesty can help us grow—the kind of feedback that doesn’t tip-toe around our sensitive feelings, doesn’t worry about what we think, and tells us like it is. That’s what we all need.

Published author, Cheryl Wyatt, commented on the last post and she said this: "I once polled about 100 editors and agents (CBA & ABA) about how far they read before they KNOW. Close to 97% of them said they know by page 10. Over 50% of them know by the end of page 1." We would be wise to get critical feedback (at least on the beginnings of our books) before we send them to agents and editors.

As you know, I’ve been judging contest entries this month. For $35, the entrants are getting three different judge’s feedback on one entry. That’s a LOT of feedback. Of course some judges may offer less feeback than others. Still, I think that’s a pretty good price to pay to get three critiques.

Overall, a national contest with strong judges (i.e. published authors, freelance editors, award winners), is one of the best ways to get honest feedback. Usually everything is anonymous, so the judges can tell-it-like-it-is without worrying about offending the writer.

Of course there are other ways to get feedback. And here’s how I would rank them in order of credibility, knowledge, and helpfulness to a writer’s career. (Starting with least helpful and going to most helpful):

Personal family members
Non-writing friends
Writing friends below your skill level
Writing friends at your skill level or above
Judges in a contest
Published Authors
Freelance editors
Agents
In-house editors

The list is a generalization and there will be blending of roles and unique situations for various writers. But the point is this: The more qualified the feedback, the harder it will be and the more painful to accept.

So how should we accept feedback?

1. Know the source and give weight accordingly. We would obviously need to give more weight to a contest judge over writing friends. And we would definitely need to give more consideration to the critique of freelance editor over family.

2. Develop thicker skin. If we ever hope to survive being the reciprocate of unbiased and truthful feedback, that means we have to toughen up. We have to get ourselves into the mindset that says, “It’s nothing personal. It’s just part of the job.”

3. Always take serious consideration of comments concerning writing basics. That would include comments about inconsistent POV (point of view), clichés (including overused phrases, trite characters, and familiar plots), lack of sensory details, too much narration/backstory, stilted dialogue, lack of conflict/tension, unclear motivations, telling vs. showing, etc.

4. Weigh opinions about the story itself more carefully. Sometimes voice, plot development, and genre nuances are more subjective. However, if several people tell us the same thing, then we would be wise to take their advice more seriously.

5. Realize honesty is the best policy. We need to hear the truth, and the truth isn't always easy to hear. Maybe the feedback isn't as gracious as we'd like. Maybe it's even downright hurtful. Simon Cowell isn't easy on Idol contestants. His critiques are often painfully honest. But what helps us more: fudging to spare hurt feelings or honesty that stings? Which will move a writer closer to publication?

In summary, I really liked what Penny C. Sansevieri said last week in her article Why (Some) Authors Fail: Look, I know not everyone is going to be spot-on with their feedback, but take from it what you can and move on -- better yourself, better your writing. Feedback is a crucial part to any writer's career. If someone who is more knowledgeable than you. . . is willing to give you feedback you should listen. Really. In a room of one hundred authors I can pick out the successful ones. You know who they are? They are the ones who aren't so wrapped up in their egos that they aren't willing to listen and learn.

What about you? How do you handle feedback? Are you willing to listen and learn? Are your critiques painful enough, or do you need to start looking for someone to be more honest?

Can a Freelance Edit Give Writers an Advantage?

Hiring a freelance editor may not be a viable option for every writer or even a necessary one (especially for beginners, as I mentioned in the last post).

However, with the ever-increasing competition in today's writing industry, we're often looking for anything that can help give us an advantage in our quest for publication.

I used a freelance editor for two completed manuscripts. Did it help me get an agent or book deal? Maybe, maybe not. I really have no way of knowing whether I could have succeeded without. It's possible.

Regardless of whether the professional edit helped me get an agent or not, it DID help me become a better writer and gave me the objective feedback I needed. In other words, getting a professional edit is never a guarantee that our writing will automatically be ready for publication. But it can help take our writing to the next level.

Paul Greci's comment on the last post summarized my thoughts exactly, the idea that a writer might want to consider an editor "especially if you have already taken classes, been in critique groups, exchanged manuscripts w/other writers, written several books and are in search of representation but not finding it. Or, maybe you've found it, but your book hasn't sold and you're stuck."

How do we find a qualified editor?

Like anything else in the writing industry, we have to take the time to do our research. My agent has a list of professional freelance editors which is a great place to start. (Click here for the list.) Read editor blogs, ask for client recommendations, check with other writers in your genre.

If you want the name of the person I used, send me an email. But. . . what was a good fit for me, might not be for you. So I still think everyone needs to do their own initial research. You may even want to check the comments on the last post. There were many who had very positive freelance editing experiences.

What exactly does an editor do?

As most of you know, there are different levels of edits. Here are the most common:

• substantive: big picture of the story, plot, characterization, etc.
• line-editing: scene/paragraph structure, language usage, dialogue, etc.
• copy-editing: grammar, punctuation, spelling, and capitalization

I like how Meredith Efken of Fiction Fix-it Shop breaks down each of the various kinds of edits. For more specific details on each type and which one might be appropriate for you, click here. (As a side note, she wasn't my editor but she is one on Rachelle's list.)

An editor will not rewrite problem areas for us. They will point out weaknesses, perhaps offer suggestions for change, but then let us do all the hard work to improve. The more work a manuscript needs, the higher the cost (which is why I caution beginners).

My editor did a line-edit and used the Microsoft Word revision balloons to make notes in the margin. Here are some of her exact notes at various points in my manuscript, The Preacher's Bride:

• "Help me experience this more."
• "Feels a little clunky--like you're trying to jam too much information into a short space."
• "Infuse a bit more emotion or show this more."
• "This is very passive. This could be written less convoluted."
• "Too abrupt. You need to wrap up the conversation more fully."
• "This is too long. I ran out of breath reading it in my head."
• "Info. dump. Can you weave this in? You could even make it more effective by making it dialog."
• "Telling. Don't use the word 'feeling' unless she's touching something and even then try to be more descriptive."
• "This transition isn't strong enough. It doesn't build the intensity. We should be worried that it might not work. This is letting us off too easily."

What about the working relationship?

My editor did an initial critique of the first 5,000 words of my manuscript. This gave me a very good feel for how she worked and whether I wanted to pursue her services further.

I personally like a straight-forward edit. I'd rather have a blunt "This absolutely doesn't work here" versus "sweetie, um, maybe you need to think about switching this." As you can see from the comments my editor made, she gave me raw, objective, concise feedback. She didn't worry about hurting my feelings and that's why I liked working with her so much.

Of course we all want an editor who can point out our strengths as well as our weaknesses (and mine did compliment me at times). But we're paying an editor to tell us what's wrong and not to hold our hand and pat us on the back. It IS painful at times. But then any growth usually is.

The point is that we should always be looking for ways to grow in our writing skills--whether that means hiring a freelance editor or pursuing other avenues.

Are you making a conscious effort to grow? If so, how? And is it enough? Or are you at a place where you need to consider a new way to stretch yourself?

Is The Cost Of A Freelance Editor Worth It?

Why bother paying someone to edit our work when we there are plenty of ways to get a critique for free? And how much better is the feedback of a freelance editor anyway? Is it really worth the cost?

As with all my posts, I can only answer these questions out of my own personal experience. I don't have the final word and am most certainly not an expert. So while I may share my experiences and thoughts, ultimately you'll have to investigate what's right for YOU.

When I finally got to the point in my writing career where I realized I needed feedback (as we talked about in the last post), I had two primary choices: find a critique group or hire a freelance editor.

Naturally, I decided to try the crit. group first. After a short stunt, I backed out of my group and began to mull over the idea of hiring an editor. I'd heard other authors talk about the benefits, and I'd started reading several blogs of editors and authors who offered freelance services.

I hesitated to plunge forward for many reasons:

• What about the cost? I wasn't published, not even agented. How could I justify spending a TON of money on something that had absolutely no guarantee of payback?

• How would I know who to pick? With all of the writers hanging out a sign and claiming to be editors, how would I find someone qualified and experienced?

• What exactly would an editor do? And would the help really be good enough to justify the cost?

• What about the working relationship? What if I didn't agree with the changes? What if our personalities didn't mesh? What if I didn't like the editor's style of editing?

Fortunately, I stumbled upon a contest critique special. And since I was gearing up to enter a contest, I decided to send in my first chapter for a critique. I figured it would help me polish up my contest entry and give me a flavor for how editing worked as well as this editor's style.

It turned out to be an excellent experience. Later I went on to have the same editor critique two full manuscripts. And what did I learn? What were the answers to all my questions? Today I'd like to tackle the money question since that's the biggest concern for most of us. (I'll get to the other questions in the next post.)

So, what about the cost of hiring a freelance editor? Is it really worth it?

First let me ask this, are you willing to pay to go to a writer's conference? Do you see conferences as worth the money? I'd venture to say most of us have paid or would pay to go to a writing conference. They're often very expensive (national ones can range around $500 just for the conference fee excluding transportation and hotel).

We don't view them as a waste of money because we realize they help us grow in so many ways. Going to a conference doesn't guarantee publication nor do we expect to recap the money.

And the same is true of paying an editor. It's absolutely no guarantee that our work will ever reach publication level. We may never get a payback for the money we spend on it.

But it is an investment in our writing career. It's one of the best ways to help us grow in our writing skill. It also gives us the ultimate critical and objective feedback we need. An editor tells us like it is, minces no words, and doesn't tip-toe around trying not to hurt our feelings unlike well-meaning critique partners.

An editor can scrutinize our work much more thoroughly than a critique partner. When we're reciprocating critiques for other writers, let's admit, we just don't have the time to give it our fullest effort. We barely have time to squeak in our writing let alone read and edit for others, and the same is true for the partners reading our manuscripts. Perhaps their feedback is helpful, but does it probe deep enough to move our writing to the next level?

But when we're paying an editor, it's their job. They take hours and hours to study and mark up our manuscript.

If I had to choose between attending a conference or paying an editor, I'd hands down pay the editor. Conferences are great for networking with agents and editors and are worthwhile at some point, but why not wait until our books are ready before starting the conference circuit? I'd save the money and instead put it toward an editor.

I personally don't believe a conference or editor are necessary too early in a writing career. The best thing for beginners is to write several books and learn the craft by reading great writing books. Hiring an editor before we reach a certain level of skill could only make the experience frustrating and too expensive.

Obviously, not everyone can or should hire a freelance editor. But I think all too often writers tend to toss aside the option without giving it more serious consideration.

What's your opinion? Has the money factor stopped you from hiring a freelance editor? Are you willing to invest in other writing-related expenses--like conferences? So why not an editor? Just curious!

Why Every Writer NEEDS Feedback

Writers cannot objectively judge their own work. Let me be so bold as to say that I think it's next to impossible.

Sure, we can pick up an old manuscript, after weeks or months, and look at it with fresh eyes. We re-read it with the knowledge we've gained in the interim and usually our mistakes glare at us.

But. . . even then, we can't see the entire book as critically and impartially as it needs.

In some ways, we can compare our writing to a theater production. The book is the stage, and the story with its unfolding drama is the production. As writers, we act out the parts of ALL our characters and the more we know each character, the better we can play their parts.

But, because we're on stage and so intimately involved with the inner workings of this production, we can't possibly see the big picture. Only someone who's sitting in the auditorium watching it all come together from the first act to curtain fall can truly view it as it's meant to be seen.

Who's in your audience? Hopefully some day our readers will pack our auditorium. But wouldn't we all like to have a few good critiques before opening night?

Who are we calling on to give us those critiques? Who do we want to invite into the front row to watch and give us the feedback we need? A proud and adoring mother? A second cousin who wants to take up writing some day? A fellow actor who has their own show down the street? Or a stage director who knows the ins and outs of production?

Most likely we'd find something of value in the feedback from anyone watching our show. But who will give us the most helpful insights on how to make the production the best it can be? In other words, whose critique would we trust the most?

This week I'd like to discuss how to get the feedback we need for our books. Specifically I want to talk about the pros and cons of using freelance editors. I liken them to the stage director or theater instructor, the experts with the experience and trained eyes.

However, for today I want to end by saying this: Every writer has to get to the point where we realize we can't go forward alone. Well, I guess we could. . . but then we're taking a huge risk. What if our show is a flop and we don't find out until too late? What if the crowd is bored and leaves during the half-way point? Or worse, what if they boo and hiss at us.

Personally, I'd rather have someone tell me my production stinks long before opening night. I'd like the opportunity to smooth it out and get my characters on cue. I want the chance to cut and add scenes that make the audience laugh and cry in all the right spots. And I want to craft an ending that moves the crowd to their feet with cries for an encore.

I'm convinced we cannot reach that level of skill without feedback, particularly qualified and objective feedback.

What's your opinion? Do you think every writer NEEDS feedback? Was there ever a time when you didn't think you needed it? Why?

Advantage: Professional Editors (Part 2)

Yesterday we had a great discussion about the advantages of using a professional editor.

Today I want to discuss the potential disadvantages of using a paid editor.

1. We may send our work to an editor before we're ready: If we're fairly new in the writing journey, we need to focus on reading craft books and blogs that can help us improve our writing skills. I have several shelves of writing books and a thick stack of note cards filled with all of the writing skills I need hone. I've spent years learning about the craft of writing. I wouldn't have been ready for an editor earlier.

2. We may have the tendency to grow lazy in our own editing: We may think that if we're using an editor, then we're off the hook with our own careful editing. I personally do not send anything to my editor until I've spent time re-reading and revising it first. I want my work to be its absolute best before I send it out to critical eyes. After all, the more time an editor has to spend correcting my little mistakes, the more money it will cost me. Besides I want her to focus on the bigger issues and help improve my writing on deeper level.

3. We may have a difficult time finding the right editor: As writers, we research agents and editors before we query. We must do our research with editors too. There are many editing services available. Finding one that is reputable and that meshes with our writing style may pose a challenge. Rachelle Gardner has a list of editors on her website here. Usually an editor will let you send in a chapter or two to start with. My editor critiqued the first chapter of both my books which allowed me to see her style and how well we would work together. Because I liked how she critiqued my work, I wanted to keep going.

4. We may have to invest a lot of money: The cost of hiring an editor is not cheap. Sometimes we may be able to find an editor that is running a special. My editor offered her current clients a discount, so I took advantage of her special and started sending her my manuscript even though I wasn't finished writing it. I've spent at least $300 so far, and will spend that much or more for her to edit my next book. I consider myself fortunate to have got in on such a great deal. Usually it's not so cheap. But it's an investment in my writing career that will hopefully one day pay off.

Rachelle Gardner pointed me to the comment of a previous client as a great example of the PAY OFF. Here's what Austin said:

"When I retired from the Navy and quit the great astronaut chase, I had this burden again. . . to tell the story of what I'd dreamt of but had narrowly missed--being an astronaut. I wrote and wrote and then realized I had a long tome that no one cared about.

So I borrowed $7000 on my house, spent it on three successive developmental edits by a freelance editor, and forced myself to walk the talk of being a good writer. Linda Nathan ripped my lips off so many times I lost count. . . but her critical comments led me to learn to correct and to write better.

Then one day, after thousands of dollars, three years of editing and lots of prayer, I met. . .Rachelle Gardner who gave me a shot at publishing, and the rest is history.

If you are burdened to write, follow Jim Bell's advice. WRITE. WRITE. WRITE. Then follow mine. . . invest in a freelance editor and make yourself better. Edit, rewrite, learn, read. Invest in yourself. You'll never regret it."

The cost is high. But if we're sacrificing so many other things to write and bring our skills to the next level, then why not sacrifice our money too?

What is the biggest disadvantage for you in hiring an editor? If cost wasn't a factor, would you hire one? Why or why not?

Remember: The key is finding someone who can objectively critique our work. Whether freelance editor or critique group, the important thing is getting objective feedback.

Advantage: Professional Editors (Part 1)

Yesterday we listed many things that may give us an advantage as new writers seeking to make it out of the slush pile.

One advantage is hiring the help of a professional editor or writing coach. This may be a bit of a controversial subject. But I'd like to take a few minutes to discuss the benefits of using one.

I started using a professional editor, Tiffany Colter of Writing Career Coach, to help critique my contest entries. I decided to continue using her for two reasons:

1. I knew I needed objective feedback, but I didn't have the time or energy at this point in my life to devote to the give and take of a critique group.


2. Once I started getting her feedback, I realized she has pushed me to think deeper about my writing than I ever thought possible and is helping me bring it to a higher level.

Rachelle Gardner recently left a comment to one of my posts and it pertains to the issue of hiring professional editors. Here's what she said:

"Just to add my two cents... I'm a little surprised that any writer striving to be a professional would come down so hard against paying for editing or manuscript help. Many working writers with multiple book contracts work with editors on their books prior to delivering them to the publisher. This means those authors are paying out of their own pocket to get objective assistance and make sure they deliver their best possible work to their publisher.

Of course, once you're contracted with a publisher, your publisher will spend literally thousands of dollars on getting your book edited. Editing is a valuable service that often makes the difference between having a good book a great book.

Yes, it's true, we all should be working as hard as we can on learning how to edit our own work. But nothing can substitute for the objective eye of an outsider, someone who is skilled in bringing the best out of you. You can edit your book yourself until you're blue in the face; and then you'd be shocked at how many things an objective editor would find to improve.

Now, I understand that finances play a huge role in our ability or inability to hire an editor. We need to make smart financial choices. But I'd recommend we avoid harboring some kind of ideological bias against paying for an editor. Most of us need editing!

I'm pretty sure that Jody's use of a writing coach made the difference between a book that I want to love and one that I really DO love. (Well, actually TWO books that I love.)"

As Rachelle mentioned, there are some drawbacks to hiring an editor. Cost is one of the biggest. Another is the tendency to grow lazy and sloppy in our own editing. I'd like to tackle both of those issues further tomorrow.

But for today, I'd like to know your opinions. What we writers really need is OBJECTIVE feedback on our work. Do you think writers can get enough quality feedback from critique partners, groups, or beta readers? Or do we ever reach a point when that's not enough anymore and we need to seek professional help? If so, when is that point?

Critique Services

Thanks for all of your sharing yesterday about critique partners vs. critique groups. I think I can safely summarize by saying, we need a Faithful Friend one way or another.

But what about using a critique service or freelance editor, as one of your Faithful companions for the journey?

When I was preparing my contest entries, I turned to a critique service for help. I happened to run across a contest special by Tiffany Colter of Writing Career Coach. At that time she was offering a critique for $30. Always a sucker for a great deal, I signed up right away!

Since I'd never paid anyone to critique my work before, I didn't really know what to expect. So when her return email showed up in my inbox, I opened it with excitement, just knowing she would sing glowing praises of my writing and tell me I would do great in the contest.

I clicked open her attachment and began to scroll through her comments. My heart pattered to a stop. She had made 56 comments in 15 pages. And while she affirmed what I was doing right, I realized I was not holding a Pulitzer Prize winning novel in my hands.

It took a couple of hours for my heart to resume its normal speed and for me to pick myself off the ground, stop whining, and get to work making the changes. When I actually began to read through her suggestions, a new excitement took hold of me. I saw the possibilities she did, the places I could improve, the new depths I could achieve.

I highly recommend the torturous experience of a professional edit to everyone. In fact, I just put more of my novel back on the rack so that Tiffany Colter can stretch me and my writing to the limit. (Sorry for that bit of medieval humor.)

The drawback to a critique service is the cost. You may have to pay hundreds of dollars to have an entire manuscript critiqued. But at some point in our writing careers we have to invest before we start making returns. Everyone has to decide what that point is for them, and then where to invest (professional edit, conference, etc.).

Have you ever used a critique service? If so, which one and what was your experience? Who would you recommend?

Rachelle Gardner has a great list of professional freelance editors on her blog. Click here to check them out. I haven't used any of them, but I trust that her list is top notch.

P.S. For those worried about cost of this kind of service, keep in mind the possibility of using author Christina Berry. She would like to start a critique service at some point and is planning to give bottom rates to first clients.

Scaling the Cliff

The climb just got steeper—much steeper. In fact the past few days I feel like I’ve been scaling a cliff.

I’ve been making revisions to my Genesis contest entry. Need I say anymore?

I’ve inched my way through the suggestions Tiffany Colter of Writing Career Coach gave me:

· Show with more intensity.
· Engage more sensory details.
· Cut the -ing verb endings.
· Heighten tension.
· Make the reader experience the inner debate.
· Turn clichés into original sentences.

I have labored over every comment (56 of them in 15 pages!).

This process of revision has pushed my writing muscles to the extreme, forced me to dig deeper, to think harder than I have in a long time. Revising is hard, hard work.

But do you know what I’ve discovered? I absolutely love it!

The adrenaline rush of scaling this particular cliff has pumped me with renewed determination. I’m ready for another.

Do you have any revision tips?

House of the Interpreter

Every Pilgrim comes to a place in the writing journey when he or she needs advice.

Early in Christian's journey he stopped at the House of the Interpreter. This wise, experienced man invited Christian into his house with the promise he would show him "excellent things." The Interpreter "took him by the hand and led him" through rooms of instruction giving him "profitable" advice and caution.

I'm preparing to enter my first writing contest. I've labored over my manuscripts to such great lengths, I quote them in my sleep. I slaved over the opening, created conflict, killed stray adjectives and adverbs, tightened prose, established POV. But then I came to a dead end; I'd done all I could. I needed more help, but where?

This week God brought me to the House of an Interpreter. Tiffany Colter of Writing Career Coach is offering a Writing Contest Special on her blog http://www.writingcareercoach.com/. Since I've never paid anyone to critique my work, I entered this House with mixed feelings—fear and anticipation.

Tiffany took my hand and led me through my entry word by word, paragraph by paragraph. Like the Interpreter she gave me an enormous amount of profitable advice and caution. And now like Christian I must continue on my journey, using the wisdom to guide me.

"So Christian went on his way saying: Here I have seen things rare and profitable; things pleasant, dreadful, things to make me stable in what I have begun to take in hand; then let me think on them and understand."

Have you used a critique service? If so, which one? What was your experience? I'd love to hear.