Saturday, December 27, 2014

The Format Wars

My husband said something that both crushed and enraged me. I had just mentioned how proud I am to have met my 2014 goal of reading 100 books.

He made a face and said, "Well, but you didn't read them did you? You listened to them. How many did you actually read?"

Photo by Jeff Daly

"I didn't keep track," I snapped back. "It's all the same. They were all stories, whether I listened to them or physically held a book and read it."

"Audiobooks are lazy. It's not really reading," he said.

I walked away before I said something I'd regret. Hours later I'm still hurt and fuming, however. His attitude is a common one. How many times have you read about general lit authors turning their noses up at genre authors? Or romance authors not being taken seriously as writers? How times as YA writers and readers do we hear that YA isn't a real category or not as important or lauded or prestigious? If you read comics, you're not really reading. If you listen to audiobooks it's because you're too lazy to read.

If certain people are to be believed, you're not a serious reader or writer unless you read or write a certain type of book.

Bullshit.

A book is a book. No matter what format it's delivered in. Audio, comic, written on post it notes scattered on the street, scrawled on a bathroom mirror in lipstick. They are all, when you boil them down to their most basic elements, words and ideas expressed by one person and conveyed to another. How those thoughts and ideas reach us shouldn't matter!

Are the books I read my kids at night worth less because I am reading them aloud? Are the stories our ancestors passed from one to another via oral tradition lazy and meaningless because they weren't written on paper? Of course not! So why is listening to audiobooks shameful or not real reading? Why is a comic book or illustrated novel taken less seriously than a 400-page general lit book? They might be expressing the same idea - just in different ways.

A story is a story and I really wish people would stop acting like one version/genre/format/style is better than another. In the end, mostly, it's personal preference and thank goodness there are so many options today for how we can enjoy a story!

I adore books. I can't imagine my life without them. I was an only child with a single mom who worked all the time. Books were my first friends. They are my constant.

Before my daughter was born I read an average of 250 books a year. That is not an exaggeration. Actual, physical books that I owned, held, turned the pages of and stayed up late into the night lost among the words. After my daughter, however, things changed dramatically. I had a small infant, a full time job and, far too soon, I'd discover that my daughter had a horrible genetic disease that requires a lot of care and medication. My free time disappeared overnight. I went from reading 250 books a year to less than 25. I had a lot of reasons to mourn that year. Losing my books on top of everything else crushed me. I was depressed and lost.

For years, things stayed that way. I was losing myself. I felt like I was nothing but a care-giver and medicine deliverer. I love my daughter. I would do anything for her. But taking care of her medical needs can be exhausting and it takes a lot of time.

In 2007, I discovered the audiobook section at my local library and tried my first audiobook. Suddenly, while I was still spending hours prepping medication, sterilizing medical equipment, doing laundry, dishes and all the million chores that parents deal with each day, I was listening to a story at the same time. It was like, in some small way, I was reclaiming that time as my own. I was reclaiming myself. I couldn't read the stories I wanted to anymore, not without neglecting my family or my job, but I could listen to them.

I don't care how I get the stories into my brain, whether through a physical book, an e-book or an audiobook. In my heart, a story is a story. I cried the day I figured out I could listen to stories. Since that time I've had another child with his own medical issues and taken up writing and critiquing as well. My reading time is scarcer than ever.

I am thrilled to have logged over 100 books this year. So what if I listened to the majority of them. I love books. They repaint my world and let me imagine a million possibilities. They wrap around me like a warm blanket on bad days. Make me smile, laugh or cry.

I am a book addict. Unabashed, enthusiastic and unrepentant. When I lost that, part of me died. That part is alive and well now.

Monday, December 22, 2014

The Great Safari - Hunting for a Critique Partner

Finding a critique partner can be one of the most important things you do as a writer. Everyone, even multi-million dollar best-selling authors, needs someone else to take a look at their work. The truth is, we’re too close to our own writing to catch many of the mistakes that proliferate across pages. A good critique partner is worth their weight in gold. But finding one can also be a big challenge.

Just as there are all kinds of books and authors, there are all kinds of Critique Partners (CPs). Some offer inline, sentence level help, correcting grammar, spelling and punctuation issues. Some focus on large picture issues like pace, plot, character arc and consistency. Some offer a bit of everything. Some CPs may spend days, weeks or even months helping you. Some may read only a single chapter. The important thing is to find a critique partner that works best for you.

Think about the sort of help you think your novel needs and start from there. If you’re a grammar genius, chances are someone who just helps with grammar isn’t going to be a good match for you. It’s also important to find someone who reads in the area that you’re writing. That’s not a hard and fast rule, but it sure helps. It helps even more if you find a critique partner who enjoys your writing style (remember, reading is very subjective and just because someone doesn’t like your novel, it doesn’t mean you’re a bad writer, just that that reader wasn’t a good match for your book).

Here’s what I look for in a critique partner (and I am ridiculously picky):
  • someone who’s writing I admire
    • The word partner is in Critique Partner for a reason. It’s a two-way street. This person will be helping you with your novel, but 9 times out of 10 you’ll be helping them with their novel as well. It’s better for everyone if you both actually enjoy each other’s writing.
  • Someone who offers helpful advice
    • I’m blessed with several wonderful critique partners and each of them brings something different to the process. One is a genius at grammar, spelling and punctuation. One is a an expert at spotting poor sentence structure and suggesting alternatives. Another calls bullshit on consistency issues or when I dip into blue prose. All of them help improve my writing, are critical when needed, but also encouraging as well. They’re as likely to offer a high five as a head shake. I need my criticism tempered with a big of sugar.
  • Someone who has time to critique
    • We all get busy. Sometimes people just don’t have time to critique a novel, a chapter or even a scene. I choose my current critique partners based on who’s available and that changes day to day. That’s one reason it’s a good idea to have several critique partners. Never expect anyone to be available the second you need them.
Alright, so you know you need a CP, now where do you find this fabulous person? Again, there’s no one right way, but here are a few suggestions to get you started.

  • Think local
    • Join an industry group.
      • Whatever you write, YA, Sci Fi, Romance, there is an industry organization for you. I write YA so I’m a member of SCBWI. Through that group you can find local critique groups that meet frequently. By attending an in-person critique group you’ll get a range of reactions to your work and you might find a partner you really click with and want to work with more.
    • Check with your local library or indie bookstore
    • Your local library or indie bookstore may be able to point you to a group that meets locally.
  • Go Online
    • There are lots of online writing communities, including ones run by industry groups like SCBWI, where you can find critique partners. Not all sites are created equal so approach with caution and know what you’re getting into.
    • I am a member of Scribophile.com and I really love that site. You have to join but basic membership is free and there’s a huge community of writers in every conceivable genre. What I love about Scrib is you can read critiques members have written of other people’s work and find a critiquer you think would work well with what you’ve written. There are also a ton of small online critique groups through Scrib. Heck, I run one myself (though it’s closed membership and we’re not taking new members right now).
  • Enter a contest
    • Contests like PitchWars, Miss Snark’s Bakers Dozen or myriads of others can help you meet other writers who are also entering. You can connect with those entrants over social media and, if samples of their writing are posted, you can identify other writers whose work you admire and that you’d like to work with. I think contests are a great way to make new writing friends and find critique partners.
  • Attend a Writing Conference
    • Writing conferences can be expensive. Though some of the regional ones run by SCBWI and others are affordable. However, these conferences are invaluable because they let you meet with and learn from industry professionals. They also let you meet a wide range of writers who are at the same point in their careers as you. You just might find the perfect critique partner sitting next to you at a panel or in a workshop. 
      • You can find a huge list of writing conferences on Wikipedia.
    • There’s an online writing conference each year called WriteOnCon. This fabulous conference is completely free and attracts a lot of writers. People post their queries and first pages and help each other out with critiques and suggestions. It’s an amazing community and an amazing opportunity to meet other writers and perhaps find a critique partner.
I am sure there are a million other ways to find critique partners that I haven’t listed. Do a google search, visit writing blogs, talk with other writers over social media. The perfect critique partners are out there waiting for you, so do something today to go find them.

And if you already have a great critique partner, go send them a virtual hug and tell them how much you appreciate them. CPs are invaluable!

Tuesday, December 16, 2014

Twitter-losophy

Twitter peeps seem to fall into five categories where writers are concerned:

The Social Braggerts - These people tweet mostly to toot their own horn. Their Twitter feed is filled with posts about everything they’ve accomplished, how awesome they are and the latest accolade they’ve earned.

The Sunday Funnies - These people may not be comedians in real life but they aim for it on Twitter. Their posts (either real or invented) are designed to amuse and may give some insight into their lives, but mostly it’s about the laughs.

The Everyday Folk - These people generally tweet about their everyday life. If they went to the grocery. What they bought. The three times they sneezed in a row. They share things little and big, some of it interesting and some of it not.

The Home Shopping Network - Twitter is for marketing! All other uses are frivolous and beneath these tweeters. Their Twitter account exists for one reason only: to promote their book and they will shout and tweet and bombard you with info about that book 24-7. The HSN tweeps also tend to band together so they will follow liked minded people and occasionally retweet their posts as well. It’s a marketing brother/sisterhood with everyone shouting as loudly as they can: “Look at my shiny, fabulous book! Buy it! Buy it now!”

The Middle of the Roadsters - These people are a mix of the other four groups. They post funny tweets, everyday tweets, the occasional tweet promoting their writing and the occasional tweet when they’ve got something to crow about.

Personally, I mostly follow Middle of the Roadsters and those are the sorts of tweets I try to create. HSN people on Twitter exhaust me and perhaps I’m wrong but I just don’t feel that’s the most effective way to promote yourself and your book. Twitter is about personalities. If people like YOU they may decide to take a look at your book. If all they want is to find something new to read there are better places than Twitter to go.

Twitter is unique in that it lets us connect with authors and others we wouldn’t otherwise get to interact with. I admit I’ve danced around like an over-sugared five-year-old after an author I fangirl replies to one of my tweets. Best. Feeling. Ever. And I love following other authors, getting a glimpse into their day, what they’re working on. People like Maggie Stiefvater, Jackson Pierce and Maureen Johnson, all well known published authors, entertain me to no end with their Twitter hi-jinks. For me at least, Twitter is about the people first and the books second. Though let’s be candid for a moment, I’m a book addict, almost everything comes back to books eventually.