Free Critiques

Workshop Suspended?

Staying Home?

During these “stay at home” days, many writers are unable to gather for their workshops, classes, and interactions that help keep them motivated. To help in a small way, Marian Blue will be offering one free critique a week based on a random drawing. This will continue as long as the “stay at home” restriction is in place for Washington State.

To apply:

  • Send an email to Sunbreak Press with Free Critique in the subject line.
  • Attach, in a Word document, your manuscript.

Manuscript requirements:

  • Must be a Word document.
  • Must be 5,000 words or less.
  • Any genre (fiction, poetry, nonfiction), but only one complete work. (One poem, one short story, or one essay/memoir). Please don’t send selections out of larger works.

New Drawing Each Week

Every Wednesday, a random drawing will take place from all of those manuscripts submitted. If your work is selected, you’ll receive a critique via your return email address before the next drawing. If your work isn’t selected, it will be eligible for the next drawing.

Looking forward to reading your work

Wish more could be read, but time doesn’t allow. However, your critique will be thorough. You’ll receive a Word document response (with Track Changes) on your manuscript.

View more about Marian Blue at About Marian BlueBlue & Ude Writers Services, author bioAmazon Author page, Marian Blue; or The Independent Author Network, Marian Blue.

Creating Book Collections–Five Steps to Success

Compiling your short stories, poems, or essays into a compelling book collection involves alchemy.

You’ve written, revised and published several dozen short stories or poems. Editors like your work. Friends suggest a collection. You realize that if you collect your work in one book, it comes to almost 400 pages.

You compile your book and receive, at best, a lukewarm reception to the collection. Why?

Creating compelling collections involves more than a table of contents. To understand, imagine that I’ve taken five of my favorite foods–maybe ice cream, lasagna, eggplant, strawberries, oatmeal–and mixed them together. Want a taste?

Collections alone don’t improve your stories or poems; however, poorly designed collections can detract from good writing.

Similarity is a place to start. Coins in a butterfly collection? Probably not. Similarity alone, however, isn’t enough. Even if you have all poetry or fiction or nonfiction, the alchemy might fail. In fact, you can mix those major genres, and if you’ve performed alchemy, the collection can still work.

Many collections fail because writers forget that they’re no longer working with individual stories or poems but with a whole. Because of this, the first step in putting together a collection is changing your role. You have to transform yourself: You must stop being a writer.

Become an editor.

An editor is aware of alchemy: weave connections through juxtaposition and suggestion within the title and the cover illustration. Everything is brighter. The collection changes everything.

Becoming an editor requires increasing the distance between you and your work. Granted, this is easier to say than do. This is a little like treating your child as a separate individual (individuation) and not as your intelligent, attractive, kind, creative … you get the idea.

Step 1

Do you have enough material?

If you must include everything you’ve written to meet the minimum requirements, the answer is no.

Go back to writing. You need to have so much excess material that you can readily exclude material during the selection process.

Another option is to think smaller. Instead of a full-length collection, think about a chapbook.

This Differences Between a Short Story, Novelette, Novella, & a Novel is an article by Syed Hunbbel Meer that discusses lengths of different formats from flash fiction to novel.

Step 2

A compelling collection needs a theme. Become familiar with your own themes.

You can do this by reading your work with the idea of finding a one-word theme for each piece. Including a word about tone is good, too. When you’ve finished, you can sort material according to theme, topic, tone.

As you do this, you’re sneaking up on identifying your worldview as an author. Most authors aren’t aware of their own worldview or style as they write. That identification is often relegated to reviewers and editors (and often authors disagree with those evaluations).

Sometimes it helps to think about the style, tone, and worldview of a favorite author or two. For instance, Terry Pratchett uses humor, puns, irony, and sarcasm to display the illogical behavior of people and interactions with their own cultures. Although the books are purportedly about non-human cultures in a fantasy world, the wit is obviously directed at human foibles. The wit is sharp, but the attitude toward characters is benevolent. His work has an overall expectation of good.

You should be able to explain your work in these terms. If you can’t, seek help (from your workshop, reader friends, or a professional editor).

Step 3

Getting Your Ducks in a Row

After you’ve become familiar with yourself as author, again consider the work. Read it again while taking notes about theme, tone, and topic. Make marginal notes about repeated images or phrases. This can help you recognize connections within the work. Think about flow. If your work is dark, a little comic relief might be needed. Try not to have all the long poems or prose together. Think about the emotional play. Where will your reader need breathing space?

As you arrange your work, consider which story or poem is weakest. You want the best work in the beginning. Then consider a very strong piece for the middle and the end. You can use that strength to build energy.

Of course, collections don’t have to be read in chronological order, but most readers do so, at least for single-author collections. This comes, in part from experience. The flow in many classic collections builds and weaves; the nuances are lost if readers jump about within the pages. For instance, James Joyce’s collection Dubliners ends with the story “The Dead.” In the final scene, the main character is staring out his hotel window at the street.

His soul swooned slowly as he heard the snow falling faintly through the universe and faintly falling, like the descent of their last end, upon all the living and the dead.

The book has opened from the perspective of the street looking into a lighted window. It ends on the inside looking out.

Winesburg, Ohio by Sherwood Anderson is another collection that, in my opinion, builds nicely when read in order and feels choppy when read out of order. The material resonates as the chapters continue.

Step 4

Your collection, now arranged, is ready for some finishing touches.

Should you have sections? If this is prose, you probably don’t need sections. The titles alone can work, especially with a clear break (extra page) between stories and table of contents. Poetry sometimes works better with clear breaks.

First, consider the length you now have. If you’re down to a chapbook, sections might create a choppy effect. If you have a full-length book, lack of sections could bog the material down.

If you use sections, you have many options. You could just create breaks where you have clear transitions, such as tone or setting. Or you can have a blank page and then just a number for the new section. For another option, you could add an appropriate quote. For instance, when organizing How Many Words for Rain, I used quotes that were in the public domain for section breaks (such as Shakespeare). Sometimes a poem title is a link to all the work in a particular section.

Step 5

Collection title. Your collection should now be composed with an overall theme within which the individual titles and sections all fit. Your title should integrate your theme, worldview, and emotional tone.

Whew! That’s a lot.

Sometimes, the title of your strongest story/poem/essay fits. Sometimes you can combine a couple titles. Sometimes you need to reach outside the collection and come up with an umbrella word.

One of the best ways to come up with a title is to have a conversation about your writing, your themes, and your worldview with a friend. Explaining yourself sometimes gives you a different perspective. Then the right title words align themselves.

Another route is to work with an illustrator for the cover. After the illustrator reads the work and responds artistically, a title can come along like the tail of the dog.

Titles help unify collections. Remember that a collection, unlike an anthology with many authors, suggests the works have been chosen out of a wide selection to represent some particular aspect or theme within the author’s work. Collections often have titles that indicate themes.

The stories in these collections deal with refugees; libraries/books/language; and men without women. No surprises. Throwing a story about a dog’s love for a duck into any of these books would be like inserting a recipe for dog biscuits into this blog.

The Parts Become Greater

This article on poetry collections by Jeffrey Levine has been around a while, but the good ideas haven’t faded: Making the Poetry Manuscript.

When a collection has been put together with a theme in mind then arranged for emotional resonance, each piece is even better than it was on its own. In essence, new creation has taken place.

***
  1. Illustration to Shakespeare’s ‘Macbeth’ (act IV, scene I), the three witches around a cauldron, proof state. 1806 Etching and engraving on chine collé Courtesy of British Museum.
Marian Blue has taught writing, literature and communication for Skagit Valley College, Writers Digest University, Old Dominion University, and Portland Community Schools as well as many writing conferences. See longer bio at “about Marian Blue”

 

 

About Marian Blue: Writer, Editor, Teacher

The natural world influences Marian Blue’s writing including that in her latest science fiction novel Quantum Consequences.

Writer

Marian Blue’s award-winning writing (journalism, fiction, nonfiction, and poetry) has appeared internationally for 45 years. She’s published in newspapers, magazines, and books/anthologies (including her own books, also listed at The Independent Author Network).

Editor

Blue has edited both print and online newspapers, magazines, and books. She was founding editor of Soundings Review, a literary magazine. She also founded Blue & Ude Writers Services, which provides editing work for other writers.

Teacher

Blue has taught creative writing, communication, literature, and various related subjects for Portland Community College, Old Dominion University, Writer’s Digest University (writersonlineworkshops), various writers’ conferences, and Skagit Valley College (retired in 2016).

Currently

Blue writes and edits both for her own projects and those of other people and organizations. She loves genre variety and is currently working on poetry and fiction books. She lives on a northwest island where she is constantly inspired by her many (rescue) animals, including dogs, parrots, goats, chickens, ducks, guineas, turkeys, one goose and one llama.

How to Get Rejected Without Getting Read

Writers’ Fatal Flaws

Computers spread out temptation to lure writers away from the task of writing rather like a bakery’s street front window lures people away from their diets.

The greatest temptation of all rises from the variety of font sizes, types, and colors–as well as styles, templates, and layout options–that technology offers. The worst possible outcome is, of course, that writers will begin to replace careful revision and editing (not to mention creative sweat) with making words look good on the page. I’m reminded of my students who like to make words lively with punctuation!!!?**

The second worst outcome is that editors and agents will reject–without reading–manuscripts that display the writer’s creativity with page/font manipulation rather than simply providing clean, crisp text that lets excellent writing shine.

Why?

Most editors and publishers are very clear about their submission guidelines. In fact, the most common request is that authors “follow standard manuscript formatting,” a three-word request that assumes writers understand. Some understand but don’t care. Some don’t understand what that means. However, this is a vital directive to use and to understand to avoid getting rejected without getting read.

This old-fashioned approach has a serious purpose: editors/publishers read a lot in a hurry.

  • Consequently, their eyes are tired.
  • They’ve had too much coffee.
  • They have deadlines, and they want to find the information they need in a hurry.
  • They’ve had to send out more rejections than they’d like.

If such an editor/publisher looks at your manuscript and has to hunt for page numbers or your contact information or is faced with a font that is challenging to read on the page, then your work is apt to be dismissed before the content is assessed.

This isn’t editorial arrogance (editors want to find good material); however, such random or creative formatting and disregard of submission guidelines is most common among amateurs, which is an indication that the writing and marketing platform might not be strong. Because editors/publishers have a lot to read, they must have priorities in trying to find the best material as quickly as possible.

Also, following the directions in the submission guidelines indicates that you’re a writer who respects what others need, that you’re easy to work with, that you understand professional protocol, that you’ve overcome that fatal flaw.

Another issue is that if you’ve inserted creative formatting–word art or text boxes or font that shimmers, is shadowed, or is otherwise “creatively” designed–this causes problems when the material is set up for publication. If, for instance, InDesign is used, then when the document is uploaded, a lot of the special formatting will be turned into tedious corrections for someone to make. If you have a standard Word document with standard formatting, the conversion is much simpler. If the manuscript is being exported for ePub, then standard formatting is even more important.

In this era of self-publishing, the need for standard formatting even applies to yourself. The more creative you are with presentation, the more likely you are to have correction nightmares in setting the document up for POD or ePub.

What/How?

You’ll find lots of information out there about how to write well and how to research markets, but the vital advice on how to follow guidelines and how to understand what directions/terms mean can be more difficult to find. That material is out there, and taking the time to find it is part of a writer’s job.

However, common sense is the best resource. The most common guideline requirement is for “readable” font (some even specify font, such as boring old Times New Roman). A clearly readable font is serif although debate continues about whether it’s clearest on a computer screen (and most manuscripts are submitted online). Recently, Times New Roman has been criticized as old-fashioned, but it’s still popular among editors, as are Arial and Courier, because it’s easy to read. Writers Digest offers clear guidelines at Formatting a Manuscript as do many other sites.

When?

When computers became as common as telephones, writers became increasingly responsible for their own editing and layout. Many writers began hiring copyeditors, layout designers, and book doctors (see Critiques & Editing for Writers on this site) to help with manuscript final drafts. Some have chosen to do it all themselves, which can be as difficult as it is for lawyers to represent themselves. Manuscript presentation is not something one should allow the ego to protect; if you’re going to fight for something, make it your prose, your characters, your plot, and even your grammar/punctuation, not your font.

Some Added Don’ts to avoid Getting Rejected Without Getting Read

  1. Don’t bind your material. That includes spiral, hole-punched folders, and burlap twine.
  2. Don’t print double-sided.
  3. Don’t send cookies, candy, or cute cartoons about rejections.
  4. Don’t complicate the mail system by requiring a signature at the post office, etc.
  5. Don’t write a cover letter that explains away reasons for not following standard guidelines or other submission guidelines. Examples are many:
    • I know you don’t usually like romance, but …
    • Although you don’t want Westerns anymore, this one is different because…
    • I’m submitting my entire manuscript, not just the first 25 pages, because…
    • To understand why my book has no punctuation, you have to understand that…
  1. Many publishers are using online submissions in part to avoid some of the above issues. Don’t circumnavigate a publisher’s submission routines. For instance, if a publisher or agent wants email submissions only, you’re wasting your time sending something via USPS. Likewise, if no email submissions are wanted, you’re wasting your time writing an email to request an exception.

Disregard any of the above IF the submission guidelines request, for instance, candy bribes.

After saying all that, don’t feel you should never take advantage of your control over text. Adding emphasis, such as the capitalized IF two paragraphs up, or examples, such as the colored text in the second paragraph, can be useful.

Preparing your work for submission is the same as preparing yourself for an interview. You dress appropriately so that you won’t have barriers between you and your skills and the interviewer. You prepare (dress) your manuscript in the best way possible to make sure that something such as font doesn’t create a barrier between the reader and your important message.

Workships — critique options

Workshops and critiques come in a variety of sizes, specialties, and purposes. They range from formal (such as classes) to very informal (dropping off a manuscript on a friend’s coffee table).

Formal workshops at schools are some of the most common, but these, too, range in level and even genre. Beginning writing classes, such as community colleges or early undergraduate classes offer at a university, usually include multiple genres and basic concepts, including the process of learning how to critique other writers’ work. As I always pointed out in my Creative Writing Course (ENGL 236) at Skagit Valley College (https://www.skagit.edu), the best way to learn to edit and critique your own writing is to practice on that of others; you’ll pick up on techniques to apply to your own work. If you have limited critique experience, one of these classes can be better than trying to learn in a more casual workshop, one in which, perhaps, the other participants’ skills may be lacking.

These formal college workshops range up through the graduate level; most offer the opportunity to audit or to participate on a pass/fail basis. As the classes advance from the 100/200 level to the 500 level, some of the classes may tend to specialize in genre (poetry/fiction/nonfiction is common but some specialize even more, such as Nature Writing). Of course, college classes tend to be the most expensive of the options. Some colleges, however, offer other types of opportunities, such as conferences or short non-credit courses.

Various organizations offer opportunities to take formal workshop classes, including writing groups. As an example, Clarion Science Fiction & Fantasy Writers’ Workshop, offers a six-week long summer workshop that is specialized as to genre but the craft and technique that is taught is excellent for any writing. Most places have local organizations for writers, such as The Loft Literary Center (https://www.loft.org) in Minneapolis.

Sometimes published writers offer workshops independently, and local organizations may include some opportunities in a listing on their Web site or in a newsletter.

Often looked down on by people in academic positions or in the literary genres are the online (previously correspondence) schools, such as Writers Digest online classes , an organization for which I taught for several years in the 1990s. Because of my own experiences with them, I believe that many writers can find these rewarding and educational experiences, and many of my students published excellent work. Again, all such schools — and even the courses in those schools — are not created equal, and you should do your research. The same is true for the traditional university experience.

Generally speaking, these formal workshops will have a fee, one instructor (published) who will provide guidance and comments as well as critiques of participants’ work, a regular schedule, and specific duration of time. Of course, they are not all equal in quality or structure, nor in applicability to your style and need (make sure you’re getting a workshop and not just a class). Sometimes one has to attend quite a few workshops at conferences, for instance, to find an instructor with whom you mesh (Poets & Writers (http://www.pw.org) can be a good place to find a variety of opportunities). As with any good relationship, looking for a good workshop is worthwhile.

Writing —

Thousands of creative writing blogs jam the Web these days. One of the things writers like to do is write, and no one can doubt that the Web has made writing and publishing something anyone can do.

How to get readers for those posts is itself as challenging as it has always been. As someone who has been part of the writing and publishing industry since the pre-computer days, I’m a believer in the fact that good writing will find its way to readers, much as rivers will eventually plunge into the sea.

Here at Sunbreak Press, this creative writing blog isn’t as much about being meditative or creative about writing as it is about helpful ideas to writers for improving writing, connecting to readers, and publishing. As Sunbreak Press develops, more books and connections will be provided on a regular basis. This is a work in progress, and I hope you will be a part of it. Let me know what you need/want, and if I don’t have answers, I’ll try to find them.

As founding editor of Soundings Review, I had little time to begin this adventure; having turned it over to the Northwest Institute of Literary Arts and, as of last December, retiring from Skagit Valley College (after 21 years), I’ll have more time to develop other outlets. I’ll also be doing more editing, creative writing critiques, and layout through Blue & Ude Writers Services. I hope you’ll join me on this journey.

Let’s see how this goes!