It has been a busy few weeks. But that’s really nothing new. Ever since I decided to hang out my shingle and work with other authors and freelance writers on their projects, some years ago, I have been almost constantly busy. I’ve learned that I have to take the time to putter in the garden. I schedule time to do my daily walk. I make time to spend with my mother and grandchildren or to do a sewing project. Otherwise, my clients and other authors and freelance writers who have questions or need editorial work or guidance, keep me occupied.
So what do I do for others? Within the last few weeks, I edited a manuscript, I’ve been teaching an online book proposal course, I’m in the process of working with 4 authors on their book proposals—one of them I am writing from scratch, I’ve fielded some questions with regard to magazine article submissions and I’ve provided some resources for clients, former clients and authors at large.
I don’t know the answer to every question that comes my way, especially if it has to do with entertainment law. And would you believe I had two questions within this realm just this week? But I can provide resources, which I did.
I’ve done a lot of teaching these past few weeks—attempting to pass along some editorial principles writers can use with their projects forevermore. Some “students” are sponges and they learn the concepts quickly. With others, I feel as though I’m using a large hammer to pound the principle into them.
I evaluated a couple of manuscripts for hopeful authors, recently. One was a very good manuscript. I only had to point out small grammatical and punctuation problems which I hoped would help him along on the right path with his project. I returned my evaluation days ago and have not even received a “howdy do” from this gentleman. Does this mean he was not pleased? Well, he sure should have been. He ought to see what I have to tell some of the people who send me manuscripts for evaluation. Even the sandwich method, using LOTS and LOTS of the good stuff, doesn’t always soften the blow of the bad things I feel I must report.
I actually evaluated such a manuscript a few weeks ago. Oh my gosh, was it in trouble. I could sense the author’s heart in it and I could tell that he was trying—maybe too hard. It reminded me of someone who had never ridden a two-wheeler bike before, out there trying to stay upright on it. It just wasn’t happening. But that doesn’t mean that this person can’t learn to ride the bike or that he can’t learn to write a story.
What do I suggest in such cases? Well, I could ask for a lot of money to work with this author, couldn’t I? It would be a long haul and intense work. At the end of it, I could probably afford to go on a cruise. But I think there are better ways for someone to get the preliminary lessons and help they need—the basics—the beginning concepts and principles of writing. How? I suggest that they get involved in a writers’ critique group and/or that they sign up for a creative writing class. A basic English class might help, but some of them are just a little over the top, as far as I’m concerned. Sure, a writer needs an understanding of the English language, but I’m not sure that the class will benefit a wannabe writer as much as peer critique sessions will.
And none of the above will help any writer who is too attached to his or her work—who refuses to listen or to change—who is not open to or tolerant of even constructive criticism.
There’s a lot of responsibility in writing and authorship. Not only are writers looked to for accuracy, we are often looked upon as authorities. We have a responsibility to our readers to provide meaningful material in an interesting, entertaining way. And part of this whole responsibility issue includes our willingness to be the best that we can be.
Do you belong to a critique group? Do you listen to comments and suggestions with an open mind or do you attend in hopes of hearing only lavish compliments. Are you the only one in your group who loves your work and considers it near perfection? Do you have trouble understanding any comments suggesting changes? Do you get defensive during the meetings and feel like you’re being picked on? Do you go home from the meetings time and time again feeling unhappy, deflated, misunderstood? Believe it or not, this describes some of the hopeful authors I meet.
Of course, there are bad critique groups. Often, a critique group will have one bad seed—one person who can’t say anything nice about anyone’s work. You’ll notice that this person rarely shares his or her material. Don’t get me started…
So what is my message today? When you ask for a peer or professional opinion, listen to it as if it matters because it just might be your ticket to publishing success. This is not to say that everything you hear or read is absolutely correct and applies to your project. But the more open your mind—the more accurate your evaluation and the more value you will receive. Makes sense, yes?
You know what I represent. I’m available to edit your manuscript, guide you in article submissions, help you with your book proposal or the huge job of marketing your book. And I will respond to your questions, if you’ll allow me. Sign up for one of my online courses:
http://www.matilijapress.com/courses.htm.
Contact me through the “Comments” function at this blog. Or email me at PLFry620@yahoo.com. Purchase my hallmark book: The Right Way to Write, Publish and Sell Your Book
http://www.matilijapress.com/rightway.html
Patricia,
I finally finished all my Hemingway books and I’m now reading your book, The Right Way to Write, Publish and Sell Your Book. So far I’m agreeing with everything you are saying and I plan to put an excerpt on my blog and link back to you as every author needs to hear what you are saying. You don’t waste time sugar coating this business do you? I like that approach. It is honest and straight-forward. Thank you.