It's Not Ready Yet - Tips for Authors

The best feeling for a writer is typing, “The End,” but really, that’s probably the midpoint of your writing journey. The polishing and revising phase starts after you’ve completed your first draft. Many new writers want to skip that part and move right into querying an agent or publisher. Don’t rush it. No one gets it completely right on the first (or even fourth) draft. You need to make sure that your work is the best it can be. Often, you only get one shot with an agent or editor.

Here are some ideas that can help you along this next phase of the process:

• After you’ve typed, “The End,” spend a few days away from your WIP. Sometimes, stepping away gives you a clearer focus.

• Make sure that your word count is correct for your genre. If you don’t know, you can Google it to get a range. You’re not ready if your manuscript is too short or too long.

• After your work is in its final state, run spell check to catch any obvious typos. Then print out a copy and proofread. I do this after every major revision.

• Find a critique group, beta reader, or writing partner (preferably in your genre) to give you constructive feedback.

• Check the details. I read the manuscript again and make sure all the tiny little things like hair/eye color, the spelling of names, placenames, etc. are correct.

• With my first few books, I hired a professional editor to review the book before I sent it out to agents.

• Be ready to deal with feedback. You may have some “plot holes” that need correcting. It’s disappointing when there are major edits/revisions, but the time you put into making your manuscript the best it can be is well worth it.

The extra time and effort in this stage of your writing pays off when you start to look for an agent. Writing is a business. Agents and editors want books they can sell (and ones that don’t need a whole lot of work to get them ready for publication). Make sure not to skip this part of the process.

Ideas for Tightening up Your Manuscript - Tips for Authors

Self-editing is probably my least favorite of all the writing tasks, but it, along with the other proofreading and revising steps, are the most important to your manuscript. Here are some ideas of ways to tighten your work and make it more polished before you send out queries. You often only get one shot with an agent or publisher, so your manuscript needs to be the best it possibly can.

• Read the dialogue out loud. If you don’t want to be the reader, use the “Read Aloud” function on Microsoft Word’s Review tab. You will often hear things that need to be adjusted.

• Look at your dialog. Make sure it moves your story forward. Remove the chitchat if it doesn’t add to the story. Fluffy filler needs to go.

• Review your dialog tags (he said/she said). Use the Goldilocks method. You need what’s just right (not too many and not too few). The reader needs to know who the speaker is, but every line doesn’t need a tag.

• Look for places where the action is mundane. If you are bored, your readers will be too.

• Print out a copy of your manuscript and read it chapter by chapter. You will see more mistakes on paper than you will on the screen.

• Use your spell checker to catch extra spaces and typos.

• Search for “be” verbs (is/was/were…). Try to substitute a stronger verb. These are usually parts where you’re doing a lot of telling and not showing.

• Look for examples of passive voice and make those sentences active.

• Review long paragraphs and make sure all the detail adds to your story. Backstory (your character’s history) is important, but it needs to be sprinkled in. Long chucks of history read like a police report or a data dump. They take the reader out of the story’s action.

• Look at the action in your story. You do not need to describe every single step and thing that your characters encounter. If your story is about your character flying to Europe, you really don’t need to tell us about all the things she does to get to the airport unless it is key to the work.

• Make a list of your overused words We all have our favorites. Mine are “just” and “that.” During my editing, I search for these and replace or delete as many as I can.

• Pay attention to the details. If you rename or change something, make sure you’ve removed or updated all references. I beta-read a few chapters for someone the other day, and this person had two different names for the main character and two different spellings of one of the names.

To me, editing is harder than writing, but it is so important to the overall project. What else would you add to my list?

How Much Editing Does Your Work Get?

Editing and revising are my least favorite part of the writing process, but I would argue that they are probably the most important. This is the part where your work is refined, polished, and made the best it can be. You usually only have one chance when querying an agent or an editor, and your work needs to be its best. I have a writer friend in another genre who always says he doesn’t have the time or money to invest in editing. Without revisions, you’re not submitting a quality product. You can also find critique groups, critique partners, or beta readers who can help you get your WIP (Work in Progress) in shape.

After I have done two or three or ten rounds of self-revisions, I submit it to my critique group. We meet monthly and read 50 pages of everyone’s WIP. It helps to get different perspectives and reactions to your stories. It is also a mystery critique group, so all the members are familiar with the conventions of the genre and subgenres.

Then when after all those revisions, I send the manuscript to a small group of trusted beta readers who are also mystery writers. We read each other’s manuscripts.

For manuscripts that I plan to query, I usually hire a professional editor for revisions and proofreading.

After I make all these changes, then the novel is ready for my agent and publisher for final reads and edits. That’s usually three or more rounds of edits/revisions.

Writers need a thick skin. Edits and revisions often feel like criticism when really they shouldn’t be. We do a lot of things well, and our editors help us produce the best possible product for our readers. The ultimate goal is to sell books.

The first time I submitted my beautiful manuscript to the critique group was eye-opening for me. After the feedback, I wanted to throw it in a drawer and abandon all hope. I learned to wait a few days after the meeting before I made edits. That gave me a bit of time to review the constructive criticism and not react emotionally. Most is extremely helpful. Many times things that I thought were perfectly clear in my mind we not necessarily clear to the early readers.

As a writer you need to hone your craft, and that comes with practice and feedback. It’s important that you build your trusted network of early readers, critiquers, and editors. I learn as much from the discussions of the others’ work as I do from the discussion of my pages.

Sisters in Crime, James River Writers, and other writing groups often has critique groups, workshops, and opportunities for authors to help other authors. Check out the online and local groups in your area.

Clean up on Aisle 9 - Revision Tips for Writers

As I’m writing a new project, I keep a daily track of my word count to show progress. I’m a list maker, so that gives me a visual that I’m getting closer to the end game. And there is nothing more exciting than typing, “The End.” When the euphoria wears off, that’s when the realization that revisions are coming. I think editing is the hardest part of the writing process. Here are some things that I include in (many) revision cycles.

1. Run spell check after each editing session. No matter how careful you are, mistakes are made during revisions.

2. After each round of major edits, I print a copy and read it on paper. I find more errors this way than I do on the computer screen.

3. Make a list of your overused words. Mine are “just,” “that,” and “in a few minutes.” Use your find and replace feature to located and eradicate them.

4. My editor and agent have style guides. I always go through these checklists before sending a manuscript over for review.

5. Look for excessive use of dialogue tags (he said/she said) and mop ‘em up.

6. If you write a series, make sure the characters don’t pop up in the wrong book. I’ve done this before. My PI showed up by accident in another WIP.

7. Look for the “be” words (are, is, was, were). They’re indications that you’re “telling” the reader and not showing. Rewrite these sentences. They’re also weak verbs. You can make your story stronger by using active verbs.

8. Look at all the opening paragraphs of your chapters. Make sure they are unique and interesting. You want to draw the reader in.

9. Look at the closing paragraphs of each chapter. You don’t want to wrap things up too nicely and give the reader a chance to stop for the night. Make sure there is tension. Make your reader read past her bedtime.

10. Don’t short change your opportunities to build tension. Sometimes, we’re so excited to move on to the next thing in our story that we don’t take time to build tension around important scenes. Go back and look for these opportunities.

11. Look for long sections of dialogue and long paragraphs of description. Can you tighten these up to move the story along?

What would you add to my list?

When You Think You're Done Writing...

There is no other feeling like typing, “The End.” You have worked and worked on your manuscript, and now you’re done. Take a break and celebrate.

Now the work for the next phase begins. You need to polish and revise this to make it the best that it can be. If you’re going to query it to agents and publishers, you only get one shot.

• Go through your manuscript and remove all unnecessary or overused words. Use the find/replace feature. (Mine are “that,” “just,” and “a few minutes.”)

• Reread your manuscript and make sure the plot flows and the events move your story forward.

• Make sure that your main character is likeable and human. They shouldn’t be perfect. If they are, then, there’s not that much conflict. (Make sure that your reader knows who the story is about. You don’t want confusion.)

• Create a document that summarizes what happens in each chapter. This will help you see plot holes. (You’ll also need it later as an outline for a synopsis.)

• Make sure that you didn’t leave any minor story lines hanging. Readers will want to know what happened to something earlier in the story.

• Find a critique group, beta readers, or a writing partner to read your whole manuscript and provide you with feedback. (Parents, friends, and spouses are great for feedback, but you need someone who is going to tell you about the good, the bad, and the ugly.)

• Look over your feedback and make revisions. Sometimes, this means rewrites.

• Print a copy and check for typos, misspellings, and any other inconsistency. (I probably do this three or four times before the book is ready to send to an editor or agent.)

• I hire an editor to go through what I think is my final version. Then I go back and make the changes and proofread the book again.

Then take a few minutes to celebrate all the effort that it took to get your book ready. Now, it’s time to think about marketing and promotion.

Revision Tips for Writers

My Editing Assistant, Disney

Every author has a different process or style for writing, revising, editing, and proofreading. You need to find what works for you. Try a technique, and if it doesn’t match your style, do something else. Here’s how I do it.

Writing Drafts 1-6-ish

1. I try to write every day, but sometimes life gets in the way. Do the best you can, but don’t beat yourself up. I find if I skip too many days, I lose my momentum and train of thought. I have to go over my outline again and read what I wrote recently.

2. I do write down my word count totals at the end of each session to keep track of my progress.

3. I start plotting on my big white board. Then, I create a Word document with a few sentences for each chapter. I color code clues, romantic elements, and humor. This helps me see visually where things fall in the story. I update the outline as the story changes. I also use this later to help me with my synopsis.

4. I start writing. I usually type directly into my computer, but sometimes, I do handwrite chapters.

5. I make sure that I start the book in the template that my agent prefers, so I don’t have to reformat later. This makes the cover page, chapter headings, indents, and footers consistent.

6. After I have a few chapters, I print the draft and do a quick reread. I make changes, and then I return to writing.

7. I repeat this for multiple drafts of the book.

8. I also keep a master character list for each book in the series. It has basic facts and what books the character or location appears in. I use this as I’m writing to make sure I don’t repeat character names and that I keep the facts straight.

9. When I think I’m done, I print out the whole WIP (Work in Progress) and do some editing and proofreading. My friend, Mary Burton, calls this the “sloppy copy. I break out the red (or pink or purple) pen and look for plot holes and typos.

Revision

1. I run a spell/grammar check to look for typos.

2. I keep a list of crutch words (overused words) or ones that should be consistent through out the book. My editor has a list, I have one, and so does my agent. I keep adding to my list. I use the find/replace feature in Word to hunt out the problem words and remove them.

3. When I think I’m done with the draft (I’m really not), I send it to an editor that I pay to do her magic. When I get her feedback, I update the WIP and print it again. I do another reread to look for any boo boos I made while making changes.

4. Then I submit it to my critique group. Sometimes, I do this before the independent editor. It just depends on the timing and what projects are going. My group reads 50 pages a month and provides feedback. I make any changes to my WIP and then print another copy and check for typos.

5. I have a small group of beta readers that I send the entire manuscript to for feedback. They read the book like a reader would and provide suggestions and changes.

6. I then send it to my agent who is also a great editor/proofreader. Your publisher will also have editors and/or proofreaders. (There are multiple rounds to the revision process.)

7. I make sure to print a copy of the manuscript after each major revision to ensure that I catch any issues I created while making changes.

When the ARCs Arrive

1. When you get through all the changes, the book will be formatted, and the publisher usually sends a draft or an ARC (Advance Review Copy) for review. Read it carefully. This is usually your last chance to change anything.

2. Check everything on the front and back covers.

3. Check all of the headers and footers.

4. Check the chapter numbering.

5. Read the book again.

It is such a good feeling to type “The End,” but it really isn’t. The work begins with the revision part.

Riley providing feedback

Receiving Feedback on Your Work

Last week, I blogged about giving feedback to other writers. Today’s post is about receiving feedback and the myriad of emotions that pop up. It’s tough. You’ve worked really hard on your manuscript, and now someone is telling you there are problems or that they don’t like something.

1. You have to develop thick skin if you’re going to be an author. You will always have critiques, criticisms, reviews, and comments. It’s hard, but you need to be realistic (and not emotional) if you want to improve your writing. The GOALS are to get published and to sell books. To do that, you need to hone your craft.

2. When I come back from critique group or get editorial feedback on my work, I try to wait a day before making changes. That usually gives me time to get over whatever emotions spun up from my first reaction to the comments. Scream, holler, run a mile, eat chocolate, dance in the kitchen, practice boxing, or do whatever helps you get centered. Allow yourself a little bit of time for your pity party. Then, pull up your big-girl pants and get on with your writing career. You can be sad or angry for a bit, but don’t wallow in it. If you want to be published, you have work to do.

3. After I’ve given myself some time, I look at the comments and changes. Sometimes, they’re not as bad as first perceived. A lot of boo boos are easily fixed. I go through the document and decide what changes I need to make.

4. When reading feedback from critique group members or beta readers, I look at each comment. If one person didn’t like or get something, it may be an outlier. If the majority of the group had the same comment, I need to look at it.

5. You don’t have to accept every change that’s suggested. At the end of the day, you’re the writer, and it’s your story. You can often negotiate with editors and agents if you feel strongly about something that they’ve asked you to change, but be professional and leave emotions out of it when you approach them. And here’s the BUT — and it’s a big one… If the editor doesn’t budge, you may have to make a decision. Is the change worth fighting for?

   I have been in several anthology projects where a new writer decided that he/she did not want the story edited AT ALL. The coordinator talked to them and explained the editing process that the group decided on was for a quality book (in this case, it was a three-level editing process). The publisher insisted that all stories would be edited. Two of the authors stood firm, and their stories were removed from the book. Decide what you can live with. Professional feedback is to make your work stronger and more marketable.

6. Everyone has ideas and opinions. And everyone will tell you about what they like and don’t like to your face and on social media. Don’t get in a confrontation or a social media war. Even if you delete posts and comments, they’re still out there somewhere in Internetland. It looks defensive and unprofessional when you start a shouting match. It is so easy to bang out a heated response to something, but don’t. It never helps, and it could damage your brand.

   Getting feedback, especially early in your career is tough. If you want to be published, you have to be tenacious and always looking for ways to improve. Criticisms and critiques are a big part of this.

Critiquing Others' Work

I’ve been a manager, a college instructor, and an editor at my day gigs for a lot of years, and feedback seems to be an hourly thing in those worlds. There’s an art and a science to reviewing and critiquing another writer’s work.

Here’s what I’ve learned.

1. Their manuscript is their baby. They have spent hours, days, weeks, and years on this, and no one wants to hear you call their baby ugly. Feedback often triggers emotional responses. I try to do the “sandwich” method. Mention something positive or something you like. Then discuss the problem areas, and then sandwich it in with another something positive.

2. I try to add comments throughout the work when I think word choice is good, when something is funny, or when there’s good tension. This way not all the red marks are of the “you did this wrong” variety.

3. If it’s a spelling or grammatical error, I mark it. If it’s a subjective thing, I try to state how it made me feel or what I interpreted. That way, it’s one reader’s opinion, and not a pronouncement on the person’s abilities or character. It’s the reader’s opinion of the work.

4. At work, I use different colored pens if I’m editing on paper. Nobody likes getting a document back that looks like a bloodbath of red ink. Sometimes, that can’t be helped with electronic editing. One of my critique group members uses the highlighter feature in Word instead of track changes. She picks colors for different things like yellow is a problem, pink is something funny, and blue is something she really likes. That way, my page looks like a rainbow instead of thousands of little comments in the right margin.

5. As an author, if you want all warm and fuzzy comments, let a family member read your work. That is always good for the ego, but you need to build a network of other writers and super readers who know your genre and who will be brutally honest. They can find plotholes, story issues, and redundancies. They will tell you when it’s boring or when you’ve gone down a rabbit hole. I appreciate it when my critique partners and beta readers point out things.

6. I try not to give feedback when I’m tired or stressed out. I don’t want my mood to jade my comments.

7. If someone has a reoccurring problem, I’ll make a note the first time. Then I will highlight it if I see it again (and again and again). Examples of this are misspellings and overused words.

8. When I finish a critique of someone’s work, I always send a note along with my notes and suggested changes. (At critique group, we do this face to face.) I do a little summary of what I like, what works for the story, and the highlights.

9. Your time is valuable, and you should be writing your next book. I always like to help authors where and when I can. But time is limited. Occasionally, I have to say no or not right now because of other commitments. Sometimes, there’s a compromise like critiquing a few chapters or the first fifty pages.

10. And what do you do if you read something that you think is just terrible? I have stopped reading before. And I tell them why. Usually, it’s because they’re not sure what their story is … it’s a romantic science fiction piece set in the American West with aliens and a touch of dystopia, vampires, and time travel with cats, suspense, and a main character with amnesia. I prefer to read mysteries and thrillers. I tell people up front that I don’t know other genres as well, and I probably wouldn’t be able to give them the critique they need on the conventions of their genre. And other times it’s because the work really isn’t ready. My friend, Mary Burton, calls your first draft the sloppy copy. That’s the one you need to work on and polish before you get to the editing and critiquing stages.