Category: Writer’s Notes

Information and opinions from fellow authors covering monthly topics such as Contests, Conferences, Mentors, and Writing Clubs. Even seasoned authors learn something here.

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Writer's Notes

Mentors: My Personal Mentor

CircleFrontCoverPrintKindle (1)By Barbara Bent

Mentor: An experienced and trusted advisor

No matter where you are in your writing career there are people who know more than you do. If you’re fortunate enough to be friendly with one of them who is willing to teach you the ropes, you’re very lucky. Conferences, workshops, contests and online classes are all helpful, but if you want advice that’s tailored to you and your journey in publishing, it’s best to have a mentor to guide you along the way.

I have been writing for many years. In fact, my personal mentor and I were in a critique group together years ago. Still, I run my writing by her before we devise a plan. Certainly, she wants to know that she’s not promoting a bad piece of work

My personal mentor has everything I need. She has written novels, been a reviewer of nationally known books, as well as a contributor to a well-known blog site. She has hundreds of contacts among powerful authors and publishers.

More importantly, she was a member for many years of the Association of Former Intelligence Officers—known as AFIO and regularly attended their meetings in Washington DC. Because of that association she has asked that I not use her name

I just self-published my first book using a freelance editor to help me, and my co-author avoid common mistakes. I know grammar, I know enough not to hand an agent a manuscript under a bathroom stall door, but I need contacts to help me sell my book, get my name out there and establish a presence.

My mentor’s advice is not always easy to hear, but it’s solid and the publishing world is ever-changing and mysterious. Especially now when so many with unedited, self-published books are clogging the internet.

Because of her background, she is a brilliant Strategist.  Faced with any situation I’ve given her, she has provided a solution. Here is where her advice has served me well. Before I attend conferences, I often go over the list of attendees and the sessions with her. She will advise me as to which authors she knows well, which speakers are the best and everyone I should introduce myself to.  By following her advice, I’ve met some lovely authors, agents and publishers who also suggested contacts for me. My network is growing faster than it would have without a personal mentor

In a sense having a good mentor is like having someone introduce you into society. You know who the players are, who will be friendly, who can help you and will be willing to and how to make the most out of the hectic allotment of your time at these jam-packed events.

She has saved me hours of time, by guiding me in the right direction. Eventually, I probably would have figured some of this out but how nice to have a knowledgeable, generous friend, show me the ropes.

I will always be grateful to my personal mentor for opening many doors for me that would have otherwise been closed.

~~

My co-author Paulette Lippman and I first came up with the idea of Circle in a writing workshop almost 40 years ago. We continued to write but not with very much speed until about 5 years ago when we picked up the pace. Since we now live in the same apartment building, it was easy to have meetings.
I live and work in New York. My first published pieces were confessions. I then moved to short stories for The Star magazine when it was a tabloid. This is my first novel. I’m a member of RWA, MWA and The Authors Guild.

CircleFrontCoverPrintKindle (1)

CIRCLE
What goes around comes around
The perfect beach read for any season

Two fiftyish women are thrown together in a client broker relationship. Through the ups and downs of single life, online dating with dreadful dates, the two of them influence and change each other until one day they realize they’ve come full circle and have, at last attracted what they wanted
Available on AMAZON in paperback and eBook.

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Writer's Notes

Mentors: A Wise and Trusted Guide

BB pub photoBy Barbara Brett

Often when we see someone who has achieved sudden, even surprising, success, we refer to that person as a “self-made” man or woman. In reality, I think there is no such thing. We, and our successes, are all bits and pieces of the people who, along our way, took time out of their lives to give us a helping hand. Sometimes they did it with a word of advice or encouragement. Sometimes with a sympathetic listening ear. Sometimes in a way we may not have been aware of at the time—if ever. I’ve been giving that a great deal of thought since Thonie invited me to write about mentors. Thank you, Thonie, for a big awakening.

There are long and short dictionary definitions of the word “mentor.” I think that “a wise and trusted guide and advisor” says it all. Our first mentors, though we may never have thought of them as that (certainly not when we were teenagers!), are our parents. They are the ones who guide us through the perils of growing up, who teach us right from wrong, who believe in us and encourage us to do our best. Then come our teachers, and after that the people we work with and meet along the way.

Of course, not all of them are mentors. I’ll always remember my high-school freshman English teacher who told me I couldn’t write well and only reluctantly let me move on to a creative-writing course. (Years later, when I sold my first story, I remember looking at the check and thinking, “Take that, Mr. H–!” So, maybe he gave me a negative push in the right direction.) But, soon after the disastrous Mr. H, there was my high school journalism teacher, who gave me all the tools I needed to succeed in my career as an editor and as an author.

According to Oprah Winfrey, “A mentor is someone who allows you to see the hope inside yourself.” That was certainly true of so many of my teachers and professors. In addition, they helped me recognize that I had the ability to turn my hopes and dreams into reality. Think about the mentors in your life, and you’ll see that they have done that for you too.

I never really thought of myself as a mentor. When I was a magazine editor and a book editor, I worked hard to encourage my staff to be the best they could be, and I’m delighted that so many of them have moved on to great success in their careers. Was that mentoring? Only they could tell you. I also worked hard with authors to help them revise their work so they could create the best story or book possible. Was that mentoring? I thought it was just doing my job. And then, at a writers conference several years ago, a woman rushed up and hugged me. “I just heard that you’re Barbara Brett,” she said, “and I had to come over and thank you. When I was writing stories for you, you worked so hard with me. You taught me all I know about plotting and creating characters. That’s why I’m on the best-seller list today!” I felt overwhelmed, yet gratified, too, to learn I’d helped someone’s seeds of talent blossom into success. So maybe I was a mentor. I’m happy to report that that author is still on the best-seller lists.

Part of the mystery of mentoring is that though we can recognize most of the mentors in our own lives, we are often unaware of how much we have been mentors to others. So whatever we are doing, we should do our best—and maybe in that way, we’ll be helping others to do their best too. Still, in our own lives, we should remember the wise words of Diana Ross: “You know, you do need mentors, but in the end, you really just need to believe in yourself.”

~~

BBrett cover Secret Agenda jpgThey are the most powerful men in America: billionaires born to privilege and linked by their membership in the nation’s most elite fraternity. They have always snatched what they want. From the halls of their ivy-league college to the counting houses of Wall Street, nothing has ever stopped them from reaching their nefarious goals. But as they gear up for their biggest takeover of all—the presidency of the United States—they discover to their horror that someone else has a secret agenda too. One by one, they are being castrated by an unknown attacker….

SECRET AGENDA—a riveting mystery of political ambition set in the glittering heights of New York society and darkest depths of Wall Street depravity!

 

 

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Writer's Notes

Mentors: So What Is A Mentor?

By Cathy Perkins

mentoring

The term “mentor “ gets thrown around a lot, but what does it really mean?

I’ve spent a huge chunk of my adult life as a manager, then senior manager and director for one of the big four international accounting firms. By definition, my role included developing the people who worked under me—not just their technical skills, although those were essential, but also their relationship skills. Being able to explain and interpret complex transactions, laws and financial requirements to a client, for example, is a key component of the job at this level in the industry.

But was I a mentor to these younger people?

I gave that a lot of thought as I wrote and rewrote this article. My role was to reinforce how the mentee’s current job and contributions fit into his or her long-term career goals, as well as how they personally fit into the bigger picture of the company’s goals. This is probably the classic mentor description.

Sidebar – Speaking of classics, did you know “mentor” comes from the character “Mentor” in Homer’s epic, The Odyssey? Mentor was a trusted friend of Odysseus, the king of Ithaca. When Odysseus fought in the Trojan War, Athena (as Mentor) served as friend, guardian and counsel to Odysseus’ son Telemachus. (Let’s hear it for high school English classes.)

Curious as to how other people viewed mentors, I spent some time online, reading numerous articles about mentors. I found the definition and description varied, depending upon the industry. In social services, for example, especially when working with young people, there’s often an emphasis on core values, fun, volunteering and empathy.

I liked my job and a lot of the people I met over the years, but beyond the shared core values, I didn’t see a lot of crossover to this description. Instead, in a broader sense, I saw a mentor as someone—regardless of the industry—who took a special interest in helping another person develop into a successful professional.

So how does that apply in the writing community?

Over the past few years, I’ve met so many people in the writing community who are incredibly generous with their time and knowledge, who’ve been willing to offer a guiding hand. Sometimes a friendship developed that has lasted for years; with others, it’s been a helpful gesture in the moment.

Are the people in the first category still mentors? Perhaps. The guys at the South Carolina Writes Workshop took me in as a total newbie, encouraged me and tactfully offered suggestions about conflict and structure for a novel. When I moved west, the Yakima Ladies listened to my chapters at our critique sessions and their absolute belief in my ability to weave character, dialogue and conflict meant as much as the woman who pushed me to seek publication.

Initially, all of these wonderful people went out of their way to encourage and teach me the necessary skills of the craft of writing or introduced me to other people who could further that knowledge. While we’re less likely to share that beginning guidance today, the trust and information sharing is still definitely there.

What about the second group? While “mentor” implies a continuing relationship, I can immediately think of people who befriended me at conferences, introduced me to agents, editors, and other authors, and generally offered the critical piece of help I needed in that moment. That generosity is it’s own special category of “mentor.”

Holly Price, the heroine in my current mystery series, is unexpectedly running the family after her father has a midlife brain-fart, runs off with his yoga instructor, and leaves his wife and the business in a precarious position. She’s traded a high profile specialty position in Seattle for a lead role in the family accounting practice. In her Seattle position, she’s never had to be a manager/mentor for the staff and she’s not sure she knows how to do it. Fortunately, Rick (her right hand man) believes in her and her ability:
“I know you used to work for a transaction group,” Sammy said. “What does ‘due diligence’ mean?”
Holly considered how to answer in guy terms. “Before you bought a used car, you’d want to know it ran, right?”
Sammy gave her a look that said, Well, duh.
“So you’d check for Bondo, rust. Get a Carfax report to see if it’d been wrecked or trashed by a flood. Maybe have a mechanic run tests.”
“Got the picture.”
“Buying a ‘used’ company is the same thing. Is the asset labeled ‘building’ an office tower in Pasadena or a burnt-out shell in Watts? Are there liabilities hidden somewhere that are going to come back and bite you?”
“And you want to look at one of our clients?” Rick’s surprise showed in his voice.
She nodded.
“Anything I can do?” Sammy asked.
“Thanks, but not right now.”
Sammy headed to his cubicle and Rick followed her down the hall. As soon as they entered the conference room, he said, “You’re better with the staff than you realize.”
A faint blush warmed her face. “Thanks.”

~~
So-About-the-Money web versionSO ABOUT THE MONEY (Book 1 in the Holly Price Mystery series) romps through eastern Washington with its rivers, wineries, Native American casinos, and assorted farm animals. Add in some wicked fun chemistry between the CPA amateur sleuth and a local detective and she better solve the case before the next dead body found beside the river is hers.

To celebrate the most recent release in the series, SO ABOUT THE MONEY is current on sale for only 99 cents!

Universal buy link – https://books2read.com/u/bOANPQ

In-It-For-the-Money-web2

IN IT FOR THE MONEY (Book 4 in the Holly Price Mystery series)

Holly Price traded professional goals for personal plans when she agreed to leave her high-flying position with the Seattle-based mergers and acquisition team and take over the family accounting practice. Reunited with JC Dimitrak, her former fiancé, she’s already questioning whether she’s ready to flip her condo for marriage and a house in the ‘burbs.

When her cousin, Tate, needs investors for his innovative car suspension, Holly works her business matchmaking skills and connects him with a client. The Rockcrawler showcasing the new part crashes at its debut event, however, and the driver dies. Framed for the sabotage, Tate turns to Holly when the local cops—including JC—are ready to haul him to jail. Holly soon finds her cousin and client embroiled in multiple criminal schemes. She’s drawn into the investigation, a position that threatens her life, her family and her increasingly shaky relationship with JC.

Universal link https://www.books2read.com/u/mYoARp
An award-winning author of financial mysteries, Cathy Perkins writes twisting dark suspense and light amateur sleuth stories. A contributing editor for International Thriller Writers’ The Big Thrill, she also coordinated the prestigious Daphne du Maurier contest.

When not writing, she does battle with the beavers over the pond height or heads out on another travel adventure. She lives in Washington with her husband, children, several dogs and the resident deer herd.
Catch up with her on Facebook ( https://www.facebook.com/AuthorCathyPerkins )
Or Twitter ( https://twitter.com/cperkinswrites ) or follow her on BookBub (https://www.bookbub.com/profile/cathy-perkins )

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Writer's Notes

Mentors and Mentees: I’ve Been Both

Shlian Silent SurvivorBy Deborah Shlian

I am a physician (now retired) and a published author of medical mystery/thrillers since the 1980’s. I would never have had the successes I’ve enjoyed had I not found mentors along the way – as I moved along in my medical career and now as I continue to write my novels while the publishing world changes around me.

As a young doctor, fresh out of residency, I joined a large integrated healthcare system (Kaiser Permanente) in Los Angeles. There I found an amazing clinician, outstanding teacher and natural leader who became my first real mentor. Growing up in the early 1960’s, at a time when family and career roles were still fairly differentiated by gender, this view required adjustments from parents, friends and particularly school counselors who regarded nursing or teaching as much more acceptable careers for women than medicine. Indeed, the idea of career itself was “something to fall back on”, to be dusted off should a husband die, or family economics really get tight. Full time wife and mother was the generally accepted proper role for a woman of that era. Dr. Rasgon thought that kind of thinking was baloney and encouraged me to become the best clinician first and then to consider a leadership role within healthcare. Because of his mentoring, when an opportunity to become Medical Director of UCLA’s Student Health Service opened up, I decided to take the risk and put my hat in the ring. I got the job.

At UCLA, I took on the responsibility of oversight for 33,000 students and a large staff of physicians, nurses and non-clinical staff. As my administrative duties expanded, my boss, who became my next mentor, encouraged me to consider getting a Masters in Business. He convinced me that acquiring a working knowledge of the language and concepts of business would allow me to straddle the role of clinician and non-clinician administrator. I enrolled in UCLA’s Anderson School of Management and graduated with an MBA.

While in business school, I decided to write a nonfiction book about the rise of managed care (I had practiced in one of the oldest HMOs in the US and had a unique perspective on what I saw as a revolutionary change in medicine). Unfortunately, publishers in New York in the 1980’s had barely heard the word HMO and told me that the concept would never fly east of the Rockies! A friend who wrote screenplays (Leigh Chapman) and who became my first writing mentor suggested writing a novel and weaving my concerns within a story. Unfortunately, my first attempt was too didactic; I didn’t even try to have it published. However, with my mentor’s encouragement I began to study the craft of novel writing. Robin Cook, a physician and best-selling author, was just getting popular at the time and it was clear that in the context of fiction, he could tell a story that also dealt with some difficult life issue.

The choice to write mysteries versus any other genre seemed natural. To me, a good doctor is really a detective. He or she must take various clues (patients’ symptoms, their physical signs and their story or history) and figure out what’s really going on – that is, make a diagnosis. Since the 1980’s I have co-written three medical mystery/thrillers with my husband (Double Illusion, Wednesday’s Child and Rabbit in the Moon), co-written two in an ongoing series with a physician colleague from California (Dead Air and Devil Wind which feature radio talk show host Sammy Greene).

All of these novels so far have been published by major publishers and all have won several literary awards including four Royal Palm Literary awards from the Florida Writers Association. Rabbit in the Moon won the Florida Book Award’s Gold Medal. Two of my novels have been optioned for screenplays.

Between my last novel published in 2011 and a new mystery/thriller I completed this year, the changes in the publishing world had accelerated. My agent had passed away, I wasn’t happy with my experience with my most recent publisher, and I was suddenly a stranger in a whole new world.

Here’s an irony. A young writer (John Ling) who I have been mentoring for several years has now become my mentor! When I read John’s first self-published short stories, I recognized his talent and encouraged him to write a larger work. His first and subsequent thrillers are as good as any of the top thriller writers around the world (I was one of this year’s Edgar Awards judges, so I think I have a good sense of talent). Despite my advice, John, who is extremely savvy about social marketing, chose to self-publish his novels. Happily, he has become a bestselling author and is one of the few writers these days who is actually making a living as a novelist.

So, with John’s encouragement, I have decided to take the leap and self-publish my newest thriller Silent Survivor. Given that most major publishers are outsourcing the marketing to authors, it makes sense to go down the learning curve and maintain control of your project. I understand that for many authors, this is still a difficult mindset. It has been for me. But I am now relying on the encouragement of my mentor and hoping for the best.

According to Steven Spielberg, “the delicate balance of mentoring someone is not creating them in your own image but giving them the opportunity to create themselves.”

Bottom line- my career path in both medicine and writing has not been a straightforward path. With each opportunity came a choice and a certain risk. Luckily, I found mentors along the way who helped me consider these forks which have made all the difference.

~~~

Shlian head shot

Deborah Shlian is a physician, healthcare consultant and author of numerous nonfiction articles and books as well as six award-winning medical mystery/thrillers, three co-authored with her husband, Joel. Rabbit in the Moon won the Florida Book Award’s Gold Medal. Her newest medical mystery/thriller, Silent Survivor, won First Place, Royal Palm Literary Award from the Florida Writers Association.

 

NOTE: Every dollar from sales of this book is going to veterans’ charities that deal with PTSD as well as charities that help women who have experienced sexual assault 

 

Here’s the link to Amazon (the book won’t be available until July 31st): https://www.amazon.com/dp/B07D7JD1QF?ref_=pe_2427780_160035660

 

Here’s the link to the trailer: https://youtu.be/QsmiKrIzgpU

 

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Writer's Notes

August Writer’s Notes: Mentors

WMA plus award
My certificate for With Malice Aforethought as the winner of the Public Safety Writers Association Writing Competition July 15, 2018 in Las Vegas.

By Thonie Hevron

I wonder how I would’ve ever gotten where I am today without mentors. This includes the mom down the street who took me under her wing when my mother struggled with her own demons. Early in my career, there was a motor officer who introduced me to the concept, “badge-heavy” and changed my adversarial attitude with the public while I issued tickets–I didn’t have to be a jerk. Later, Fred, a patrolman, was another crucial association. He invited me to testify to the county grand jury as part of an investigation of our police administration. Standing up for the integrity of the job was a beautiful burden. These people were life-mentors who taught me valuable lessons that extend through my life today.

But let’s talk about mentors for writers.

Pat Tyler
Pat Tyler

In most other industries, colleagues could look upon newbies as competition. While I’ve found that writing teachers aren’t necessarily mentors, I can say I have never seen professional acrimony toward another. My first true writing mentor, Pat Tyler, during her Jumpstart Writing class, encouraged me with provocative prompts. She provided a safe, non-judgmental place to read and hone my stories. Then, she pointed me toward Redwood Writers (a branch of California Writers Club), where I found much more to learn. The motto of the club is “writers helping writers.” It did!

Marilyn1
Marilyn Meredith

My second mentor is Marilyn Meredith. She’s a board member of the Public Safety Writers Association who I met in 2014 at the club’s annual conference. Marilyn is an experienced author who helped me navigate small press publishing and writing ethics. She’s a prolific author of over 40 books who gets up in the middle of the night (4 AM) to accomplish her myriad goals. Even with huge family demands, she writes and promotes almost every day. A lady in the most refined sense, she’s also a model of Christianity—not the clichéd version—the true-blue follower of Christ. She’s unpretentious, accepts people the way they are and believes in sharing her gifts—as she has with me. I’ll bet she never even considered herself a mentor. But she is. She continually inspires me to be better.

Speaking of not considering yourself a mentor, I want to talk about being a mentor. Why?

  • It could change someone’s life—really. Think about words of encouragement you heard that motivated you. Be that person.
  • It will take you out of your own world—we create them in our heads, don’t we? Telling another person about your process attaches words to abstract thoughts. Sharing can enlarge thoughts, if you listen. For both of you.
  • You’ll be building a writers’ community based on the positive aspects we’re talking about here.
  • The life you change may be your own. Sometimes, verbalizing the process gives us a clearer picture. Sharing and giving aren’t unique to humans but we’ve refined it through evolution. Let’s keep working on it.

On August 10th, Deborah Shlian shares her thought on being both a mentor and mentee. Cathy Perkins appears on August 17th, Barbara Bent on the 24th and Edith Maxwell winds up the month with “Paying it Forward” on August 31st.

Be sure to join us on Writer’s Notes, Just the Facts, Ma’am every Friday. Sundays, read the exploits of the men and women behind the badge on the main blog.

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Writer's Notes

Critique Groups: 3 Keys for a Productive Writers’ Critique Group

DTF Red Sky

By Deborah Taylor-French

Critique groups for writers serve many purposes. Writers’ groups can keep us on track with our goals like families help members grow and celebrate milestones. Functional or dysfunctional, writers’ groups can help us or hold us back. We can learn from reading with an eye to what works and how others convey stories. We can embrace and acknowledge the thousands of ways to express feelings, thoughts, and actions, which pump life into written ideas and stories. A well-functioning writers’ critique group can advance our abilities and productivity. More importantly, a group can act in several ways to improve our skills, style, clarity, and marketability of our work.

Before You take the Plunge to a Critique Group

  1. Are you interested in learning and changing your writing? If your answer is no, please don’t join a writers’ critique group. There are other types of writers’ groups for you.

 

  1. Do you like helping others? If the answer is no, you should seek help from an editor and beta readers. Critiques are best as two-way streets.

 

  1. Do comments help you revise? Not all writers feel receptive to readers’ impressions and questions. If comments confuse or upset you, work with only one reader or professional editor at a time.

Do you feel confused or angry at other’s comments on your writing? Then proceed with caution. Know you have other options. A well-chosen first reader or editor can help.

On the other hand, if you’re curious what your writing means to other people, do join a writer’s critique group. An attitude of mutual helpfulness must be part of why writers join groups. Not only should you be able to answer, yes to all three questions but also the other members of your potential group should too.

Caution: Not All Writers’ Critique Groups Produce Positive Results

  • Be picky.
  • Visit different groups.
  • Ask do I need a face to face group?
  • Know that online groups are not for every writer.

Insightful Critiques Moved My Story onto the Page.

Two critique groups assisted the development in early drafts of my first novel. I learned TONS from my writing group. I consider myself fortunate to have found a positive minded and a mature set of writers. Those four writers read and made detailed comments or questions on my drafts. In our meetings, each writer read aloud his or her work. The group discussed that piece of writing then the author had a few minutes to ask questions of their readers.

Due to readers expressed confusion on my references of fictional time and character motive, I realized the essential parts of my story still resided in my mind. These repetitions of discovering I had failed to write down specifics known only to me, pointed me to what I needed to do to make my story more readable and engaging. Due to a vivid imagination, I had those story facts but had never placed them in my draft. Soon, I learned to choose from the most potent essential objects, feelings, and metaphors. These details expressed and defined my characters, setting, and action more clearly. I learned from writers/readers to include a fleshed-out range of visual, auditory, and kinesthetic descriptions. I overcame a habit of leaving 30% of scene details in my imagination.

Gradually, I learned to go deeper onto each page of fiction. Soon, my fiction writing gasped a subtle use of subtext and humor from reading my writers drafts. Essential details. In each critique, we pointed out what worked in each other’s drafts. Insightful readers pointed to specific word choices, character action, dialogue, and thoughts, which helped to steer the story. Of course, some of our comments were more effective than others.

As I continued to participate in critiques, my written languages skills grew more vivid and effective at communicating my stories into final drafts. Through weekly meetings, my critique group writers taught me to trust the strengths I had as a writer. Believing and using my writing strengths became vital in my long-distance run to my first novel.  Novelists need staying power for the arch of writing 50,000 to 100,000 words has hundreds of challenges. The years of work to produce a coherent novel-length book felt like a daunting challenge. I thought of myself as a marathon runner in training.

Writing one book, for most people, presents a considerable challenge. Because I wanted to write a series of Dog Leader Mysteries I had to reframe endless revisions and draft edits to seem manageable.

Key 1: Positive critique comments grow better writers.

I cannot stress this too strongly. Our format trained us to always remark on the skills, insight, and best elements of each piece of writing. Our marginalia notes, plus verbal comments, ALWAYS began with what we liked, what worked, and what made us want to read more. We looked for what made written passages ZING, SING, and FLOW.

We don’t only learn from our mistakes. We learn from what we do well. We learn from the skills others positively reinforce. We become far more willing to keep repeating behaviors and skills we know others like or find valuable.

Take Dogs for Example

Behavioral studies show dogs learn faster in favorable environments. Canines must have their positive behaviors reinforced. Cookie words, receiving treats, and praise made dogs repeat what they did right. Similarly, we do better when we know what we’re doing right. In functional families, we know our value. Our positive behaviors receive praise or rewards. Our loved ones shape our behavior.

Key 2: Make Clear Critique Agreements

In our meetings, we set up a group knowledge base and agreements with each of us reading Peter Elbow’s book, Writing Without Teachers. The importance of this step cannot be stressed enough. Research showed that creative writing students did not get better through negative criticism alone. These students improved their writing skills when an amount of time became devoted to hearing what they did right.

Key 3: Mutual aid and patience transform critique groups beyond critique

Critique groups raise our empathy. They expand our knowledge and show us myriad ways writers solve similar story problems. They also tend to build friendships, the best lasting support to help us with the business of writing, too. Want a beta reader for a blog post? Need to contact published authors or experts to secure book blurbs for your first book? Want to be more successful in marketing your books?  All these and more valuable progressions can come from a trustworthy and caring critique group.

Positive feedback turns out to be the most effective way to grow as a writer. Who knew? Sure, we can all learn from our mistakes. Even from the mistakes of other writers. Imagine an acknowledged discussion, with notes on what a skillful writer you are. How would that advance your understanding of what works in your writing? Even if you have a reliable and helpful critique group, you have much to gain from pointing out what worked, what made you laugh, what made you want to keep turning those pages.

~~~

Deborah Taylor-French, Photo by Cindy Pavlinac
Deborah Taylor-French, Photo by Cindy Pavlinac

Deborah Taylor-French writes mystery, myth, and poetry.

Her Red Sky at Night: Dog Leader Mysteries can be purchase at Amazon Books https://www.amazon.com/Red-Sky-Night-Leader-Mysteries/dp/1532039700/ref=sr_1_4?e=UTF8&qid=1531597324&sr=8-4&keywords=red+sky+at+night

Copperfield’s Books https://www.copperfieldsbooks.com/search/site/Deborah%20Taylor-French and on iUniverse Bookstore https://www.iuniverse.com/Bookstore/BookDetail.aspx?Book=742732. At iUniverse sells this book at the same price as Amazon Books.

Deborah blogs to “save dogs’ lives & dog lovers’ sanity” at Dog Leader Mysteries (.com). For six years as Redwood Writers’ Author Support Facilitator, she has nurtured writers at monthly meetings. Redwood Writers is the largest a branch of the California Writers Club.

A former guest artist for California’s Artists in the Schools, Deborah holds a master’s degree in dance education from UCLA. She taught dance as a discipline, an art form and as cultural heritage in private and public schools throughout the State of California.

She has raised five adopted dogs, three pet rabbits, and one daughter. Deborah lives with her family in northern California, plus Tokyo Tuxedo, one sassy adopted house rabbit.

 

 

 

 

 

 

 

 

 

 

 

 

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Writer's Notes

Critique Groups: My Experience

By B. Payton-Settles

July 20, 2018

BILLIE Something in the Attic.jpgWhen I stumbled onto critique groups almost ten years ago, they existed only as hard-copy, four-or-five-writers-working-together-around-a-table, incarnations. Now, through the wonders of social media, critique groups exist on-line, as well. Although I prefer the in-the-flesh model, I’m glad we have options today; critique groups are essential, both for budding writers and those whose careers are launched and moving along smoothly. We never outgrow the need for honest, professional feedback and support. My association with the critique group lovingly nicknamed Thrillerz provides that for me.

When I joined Redwood Writers Club (aka “RW”, the local arm of the California Writers Club) almost ten years ago, I was encouraged to participate in a critique group. I was new to acceptance of myself as a writer and floundering in the development of a mystery/paranormal novel. I figured I had nothing to lose.

Ana Manwaring, an RW veteran, gathered five of us for the initial meeting at a Starbucks. First order of business was choosing a maximum number of participants (five), a genre qualification (mystery/police procedure), and a meeting structure (twice a month on Wednesday evenings). We were on our way.

It took only a few meetings for us to realize that coffee houses, with their hard-to-manage noise level, don’t work as meeting places long term. When we interviewed for members, one or two prospects opted out based on that limitation. We relocated, first to a conference room in the Rohnert Park PD (member Thonie Hevron worked there), then to the Santa Rosa office of member Fred Weisel, and currently, to a member’s home in Petaluma.
Our meeting format is simple: we each bring pages for the others to take home, edit, and bring back to the next meeting, where we read a sampling and discuss the edits.
This is a great way to benefit from one another’s skill and get real-life feedback concerning subject matter. One perk: We get in on amazing, imaginative stuff as it is created. Another perk: Our understanding of human nature is indelibly deepened.

In taking a nostalgic look back at Thrillerz’ past participants—some for a few months, some for a few years—I see the enormous benefit in exposure to the many diverse personalities. We’ve had grammar divas (that would be me), adjective bludgeoners, ‘repetition’ police, plot questioners (Where’d that guy come from? You never mentioned him before. At least give us a description!), and of course, morale boosters. Thank heavens for my fellow writers and their dedication to this, sometimes, frustrating craft.
As I have developed as a writer, I’ve had many moments of doubt about the worth of my stuff, my chances for recognition, my writing ability. My critique group, as honest in their criticisms as they are lavish in their support, keeps me writing.

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BILLIE PS head shotB. Payton-Settles was reading at the age of four and still reads everything she can. She’s been writing since her teen-age years (She’s retirement age, now) and loves getting feedback about her published work. Her home base is Petaluma, California, where writing, teaching, and research happen.

To purchase Something in the Attic, click here

 

 

 

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Writer's Notes

Critique Groups: Critiquing for success

By Mary Feliz

 

A cute Golden retriever puppy in front of a chalk board with the words “Puppy Class” written in chalk. Isolated on white.
purebred golden retriever jumping in a training of agility

Whether we’re at the puppy stage or sailing over tricky hurdles, writers need training, support, guidance, positive feedback, and constructive criticism.

From conferences on a grand scale to critique groups on the smaller end, authors push ourselves and our writing to greater heights when we work together. We smooth over the rough spots in our manuscripts, lives, and career trajectories while celebrating successes others might need a microscope to observe.

Finding or creating a critique group is the subject of another blog. I’m of a mind that they work best when you nail the perfect combination of similar skill sets and objectives.

But what if you’ve found the perfect group? What can you expect from the experience? How can you make the most of it and minimize frustration? The first step, I believe, is recognizing that you have at least three (and maybe more) roles. First, you’re there to provide feedback. Second, you’re there to receive constructive comments on your work. Third, you’re a social member of a group in which people will feel vulnerable. The relationships within the group may be more high-maintenance than you’re used to in other spheres of your life.

Good critiquers:

Provide timely feedback based on the writer’s needs. If an author’s spouse is a grammar whiz and punctuation police officer, she won’t require line edits, but she may need your take on whether her dialogue rings true. Don’t waste your time and hers. If she has a Monday deadline and you don’t get back to her for a month, you’ve squandered goodwill on a fruitless chore.

Find something good to say. No matter how awful you consider a submission, find something useful to say. Was the formatting impeccable or did a three-word turn of phrase capture your attention? Mention it. Doing so nurtures relationships, but also makes it easier for authors to listen to your recommendations for improvement.

Find something that could be better. No one’s writing is perfect, particularly in early drafts. Blockbuster authors may write too-wordy passages, dialogue that sags, or unimaginable plot twists. Even if a submission blew you away with its brilliance, find something that could be improved. No one appreciates a critique group member who consistently responds with “terrific, you’ve outdone yourself.”

Good critique-ees:

Say thank you. Each critique took time away from a group member’s writing. There is nothing authors value more than their time.

Look beyond the comment. Prolific genre-busting English author Neil Gaiman says, “Remember: when people tell you something’s wrong or doesn’t work for them, they are almost always right. When they tell you exactly what they think is wrong and how to fix it, they are almost always wrong.” No matter how bizarre a comment seems, something tore the reader away from your manuscript long enough for them to write you a note. Even if you disregard their advice, examine the passage to determine what might have made a reader stumble.

Busted? Be grateful. When I struggle with a passage in my novel and decide it’s good enough only to have an editor later tell me there is still a problem with it, my initial reaction is that of a child sheepishly caught in the act. I’m angry, then thrilled that someone brought me to task for wimping out. I take the reader’s advice very seriously, even if their solution is not my solution. For example, in my latest book, my editor suggested the murderer needed more explicit motivation—something about the character didn’t ring true. He offered suggestions. Instead, I shifted blame to a new character I wove into the story. That move provided a double-barreled benefit. I fixed the nagging problem and created what I hope proves to be a very satisfying plot twist.
Don’t argue. And don’t continue ask for feedback as you fiddle with your manuscript’s faults. If you need more help, consider taking a class or asking another friend, beta-reader, or editor. Nothing kills a critique group faster than someone who keeps asking for advice on the same tired paragraphs.

Reveal expectations and needs. If you’re on a deadline, let your critique partners know. If you need a quick read and response on a specific portion of the work—rhythm, characterization, believability, etc.—let your readers know that, too.

Overall advice:
Critique groups are meant to be helpful and fun. If your group feels burdensome or feedback isn’t useful, take a break, change the structure of the group, or bow out. Likewise, if a group member becomes argumentative, incapable of meeting deadlines, or provides useless feedback, consider asking if the group still meets her needs.

A supportive critique group is priceless, but the organization that needs care and feeding. Nurture it. But don’t hesitate to end an unsatisfactory group experience. A lousy critique group is worse than no group at all.

~~~
FELIZ Author HeadshotMary Feliz writes the Maggie McDonald Mysteries featuring a Silicon Valley professional organizer and her sidekick golden retriever. She’s worked for Fortune 500 firms and mom and pop enterprises, competed in whale boat races and done synchronized swimming. She attends organizing conferences in her character’s stead, but Maggie’s skills leave her in the dust. Address to Die For, the first book in the series, was named a Best Book of 2017 by Kirkus Reviews. All of her books have spent time on the Amazon best seller list. Visit her website at http://www.maryfeliz.com
~~~
FELIZ Disorderly Conduct (4)Professional organizer Maggie McDonald balances a fastidious career with friends, family, and a spunky Golden Retriever. But add a fiery murder mystery to the mix, and Maggie wonders if she’s found a mess even she can’t tidy up …

With a devastating wildfire spreading to Silicon Valley, Maggie preps her family for evacuation. The heat rises when firefighters discover a dead body belonging to the husband of Maggie’s best friend Tess Olmos. Tess becomes the prime suspect in what’s shaping up to become a double murder case. Determined to set the record straight, Maggie sorts clues in an investigation more dangerous than the flames approaching her home. When her own loved ones are threatened, can she catch the meticulous killer before everything falls apart?

 

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Writer's Notes

The Call Box: Code 7’s Aren’t Sacred

polic-call-box-pedestal-lapd-gamewell-DCAL2786_dt1By Ed Meckle, Retired LAPD

Ask any patrol officer what his/her favorite radio transmission is and I’m sure most will say … “Code 7 granted.” 

Somewhere there is a rule/regulation/order whatever that states, very sensibly only a certain number of cars can be off the air to eat at any one time. When your request has been denied several times, you try to be first in line when another unit clears from 7. 

Eating spots…there are spots and there are spots. Well, just let me say that Hal, working Hollywood, probably had no shortage of fine eateries to choose from while I, working a poor, crime-ridden area did not have that luxury. The powers that be stated we could not eat outside our area and we had one restaurant which would have had to improve greatly just to be average. 

The food however was free, and we ate what they put in front of us and we left a 25-cent tip (this is a long, long time ago, boys and girls). Being “off the air” however, did not necessarily mean you would enjoy your meal in peace.

 A few examples:

We hadn’t been seated five minutes when we hear shouting from the parking lot. Then two rapid fired rounds followed by the racing engine of a departing vehicle and then a third and fourth shot. 

As we were seated in the rear by the door we were up and out quickly but cautiously fully expecting to find a body in the lot…not this time.

Standing not ten feet from our black and white was a woman holding a handgun which she quickly dropped when ordered.

She admitted shooting at her husband and then his car as he left. We found no blood and discovered where one round had hit a car parked next to ours.

We got a pinch but missed dinner.

Saving what I consider a “classic” until last: this was related to me by Dwight “Skip” Gillett, LAPD retired and a colleague from the “Old Centurions.”

In Skip’s own words, edited for length:

I was working AID, Accident Investigation Division, on the PM watch in 77th Division with my partner Chuck Morrow. Inasmuch as it is a poor, crime-ridden area there are not many (actually none) decent restaurants where we can eat.

So, we are having a burger at an outdoor greasy spoon when we hear shouting.

There right in front of us is a northbound vehicle, hood open with a passenger seated on the front fender shouting instructions to the driver who, of course can’t see because of the hood.

“Slow down a bit,” “Little to your left,” and “Stoplight coming up.”

Now any cop will tell you that sooner or later you witness all sorts of weird behavior, and nothing you see should surprise you until something crazier comes along. But this one ranks right up there.

Decisions., decisions.

engine-bayFinish the burgers or do the right thing? Dedication overcame hunger and we made the stop. It seems the fuel pump was non-operational, so the fender rider was pouring gasoline directly into the carburetor and since the driver could not see, he was calling out directions. 

Logical, right? As clever as this might seem you may have guessed by now alcohol was involved.

End result: lost the burger, got one deuce.

 

[Me again] I have said it before. Where else could you find a job where you could do some good, meet the quality of  people we do, have a lot of fun and still get paid?

Categories
Writer's Notes

July’s Writer’s Notes: Critique Groups

By Force or Fear, Intent to Hold, and With Malice Aforethought

meeting-1219540_960_720By Thonie Hevron

 

A tightrope

Critique group partners walk a tightrope. You’re charged to be honest on one end—to expose errors and inconsistencies. On the other, you must allow for the writer’s style. Having basic rules to guide can help in this mission. Actually, rules are vital. They should foster writing skills and creativity. Knowing when to say what are crucial when you’re giving feedback on another author’s work. You want to suggest points that will encourage imaginative changes, not stifle another’s storytelling.

 

Where would I be without my critique group?

Back in 2009, my goal was to finish my first book. I’d (artistically) wandered with it since 1997 or so. I needed something to help push me through my obstacles. That year, I found Redwood Writers (aka RW, a chapter of the California Writers Club, founded by Jack London). RW came to my rescue with craft workshops, speakers on goal setting, and classes to develop a platform/social media. Then, at a monthly meeting, someone announced they were starting up a mystery/suspense/thriller critique group.

Now, I wasn’t all that excited about critique groups in general as I’d had a bad experience in ’97 with an open genre group. (Imagine poets critiquing a police procedural. It wasn’t pretty.) But a gathering of same genre writers might be what I needed. Under the guidance of an experienced writing teacher, we began what we call, “Thrillerz” with 4-5 authors. Our first meeting was to establish ground rules: where, how often and when do we meet? What is the standard submission? Behavior rules were basic (no punching out your critiquer) but clear. We decided what we were going to look at: line edits, content, all the above.

 

What Thrillerz has done for me?

Over the years, the faces have changed—except for Billie Payton-Settles. She and I are original members. On July 20th, you’ll be hearing how Thrillerz keeps her writing. Right now, I believe Thrillerz has the perfect blend of authors. Our sub-genres vary but we all speak the same language. We listen to each other, taking or discarding criticisms as each feel will work for their piece. We never argue. And, contrary to some writing experts, we do offer suggestions to each other—thankfully! I say this because of every set of pages I submit, I get great ideas back. Sometimes, the story has taken off in different direction because of their ideas. They’ve made me a better writer and a better critiquer. I hope I provide them with positive possibilities for their works as they do for me. Another huge benefit for being in a critique group is that I keep writing. I work because I must turn in pages. Sometimes, it’s the only reason to get a word down.

 

Some references for rules

Crit bookIn this post from Writers’ Digest (January 2010), Jane Friedman discussed a book by a colleague, The Writing & Critique Group Survival Guide by Becky Levine. Her summary sounds terrific, but I haven’t read it, so I can’t recommend it.

There isn’t that much information out there about critique groups. This could be for a variety of reasons: Groups are outgrown as an author rises the ladder of success. And each group must set their own rules. In doing research for this post, I found an article by an expert who offered 9 mistakes that make you look like an amateur. Five of her “mistakes” were regular practice in our group.

No grammar corrections? Tell the retired teacher not to.

Next week, mystery author Mary Feliz offers “Critiquing for Success” on July 13th and Deborah Taylor-French on July 27th. Join us on Writer’s Notes every Friday and Just the Facts, Ma’am every Sunday.

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Conference picThonie Hevron, a retired 911 dispatcher, resides in Northern California. Her work has appeared in Beyond Borders: 2014 Redwood Writers Anthology and Felons, Flames and Ambulance Rides: Public Safety Writers 2013 Anthology. She is the author of three mystery novels, By Force or Fear, Intent to Hold and With Malice Aforethought, currently available on Amazon but will be re-published by Aakenbaaken & Kent in 2018. Her fourth mystery/thriller, Felon with a Firearm is forthcoming in late 2018.

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Malice coverWITH MALICE AFORETHOUGHT: What if you’re a deputy investigating a homicide in an isolated countryside and you discover a sinister paramilitary group gearing up for an assault very soon? What if your sergeant is your former partner who keeps you at a distance? And don’t bother calling for back up because there’s no radio communications in the remote Northern California hills.

What do you do?

To purchase With Malice Aforethought, click here