By Guest Blogger Tim Sunderland

I can scarcely concentrate long enough to vacuum the front room, let alone create a literary work that may take more than a year. But after more than two-and-a-half years I now have a finished draft—117,000 words, 456 pages—and it’s readable and even good.

I never would have made it without the help of a literary critique group.

We meet weekly for two hours in a local chain bookstore (hint—the only chain left): a small group of people taking turns reading novels and short stories, trying to be heard over the Musak. Afterwards we sit bravely while the rest of the group makes comments, from punctuation to lapses in logic to a shake of the head followed by, “I’m not sure that would happen in real life.” Our members range from unpublished writers with promise to a retired educator with more than 300 published poems and a dozen short stories in print.

Because of this group, I’m a better writer.

Here is a list of my observations about what makes a good critique group, and how you can make the best of them:

Frequency—The group should meet weekly. Especially for writers working on novels and lengthier works, you should meet often enough that members recall the story line.

Strong Management—The group needs a leader. This person doesn’t need to be a published writer, few of us are. But they need to be a leader. They make sure people get a chance to read, that one person does not dominate, and that the criticism is constructive. There is a difference between a leader and a Nazi. Stay away from the latter.

The Leader Needs to Make Some Tough Decisions—Sometimes a member crosses a line—inappropriate material or harsh criticism. The leader has to control these things. Our leader has even had to suggest that some people leave the group.

The Group Should be Nurturing—Some writers have good ideas and themes, but they haven’t found their voice (I reread some of my early chapters and I shudder—what drabble!). A good critique group will nurture. They instinctively know not to rip you apart and destroy your fragile ego, even though the writing is a little raw. They will carry you along and wait for you to get better.

Recognize the Weaknesses of this Format—Few members have perfect attendance. One of your chapters may be relying heavily on action in an earlier chapter. If some of the members were absent for that reading, there will be a disconnect. One of the final chapters in my novel draws heavily from a chapter near the beginning. I emailed everyone the earlier chapter so they could fully appreciate the relevance. Critique groups are good for the immediate stuff, but as a judge of the work in its entirety, few of the members will hear your complete book, and if they do, it will be over a longer period of time.

Listen to the Group—In a scene midway through my novel a homeless man—a second-tier character—loses his shopping cart. The event furthered the action in the book and helped develop another character. Afterwards a member confided to me that she was very concerned about the character losing his cart. I thought about it and realized he needed to get a new one. In fact, it figures strongly in the resolution of the plot. Had she not made that comment, I’m not sure that ending would have occurred to me.

You Don’t Have to Take Every Piece of Advice—There are some absolutes. Typos, misspellings, grammar and punctuation (unless you’re Cormac McCarthy) are hard and fast rules. But if someone makes a comment on the story line or your style, it’s your choice to heed it.

I can write much more about critique groups, but these are the highlights. If you are looking for a group, shop around. Don’t settle for the first one. Also, make sure you reserve a page in your book for acknowledgements, and please spell everyone’s name correctly.

Tim Sunderland recently finished the draft of his first novel, Rules for Giving.  He is currently editing the piece and plans on seeking an agent in early 2012. Visit his blog at What If You Could Not Fail.

The Southern Nevada chapter is hosting a workshop on June 4th (10 AM to 3 PM at Nevada Day School). Author/illustrator Jim Averbeck will help writers and artists better understand the marriage between words and illustrations. More info at SCBWI website.

‘Google Doesn’t Laugh’: Saving Witty Headlines in the Age of SEO

By David Wheeler

May 11 2011

If online searches are literal, what happens to headlines that involve word play? Copy editors fear they’re going the way of the classified ad.

To Matthew Crowley, funny headlines are serious business.

“Come on,” Crowley says, tapping his knuckle against the dry-erase board. “What else can we use from this story?”

It’s Saturday afternoon in Phoenix, and the American Copy Editors Society’s annual conference is drawing to a close. Crowley, a copy editor for the Las Vegas Review-Journal, is conducting a headline-writing workshop inside a classroom at The Walter Cronkite School of Journalism and Mass Communication at Arizona State University. The conference has drawn hundreds of copy editors from newspapers around the country.

Read More . . .

Every editor needs a good toolbox. Photo by Stitch.

I was once asked what – or rather, who – makes a good editor, which raised a good question, one that took considerable thought. I have come to the conclusion that three elements are essential to an editor’s success: a skill set, a tool set, and a mind set.

Not surprising, an editor must be knowledgeable of and proficient in the rules of good grammar, punctuation, spelling, and so forth. A strong foundation in the basics is certainly helpful, but even if an editor didn’t win the spelling bee state championship or get straight A’s in high school English, these skills can still be developed through education: writing courses; a degree in journalism or English literature; an internship with a magazine, newspaper, or book publisher (or ad agency/marketing firm); and reading — anything and everything. Seeing how the masters wrote as well as how current bestselling authors challenge old-school writing is invaluable in developing an editor’s competency.

Realistically, though, an editor — novice or veteran — cannot know and remember all the rules of grammar, which makes reference material (the “tool set”) so necessary. Whether on the bookshelf or online, a dictionary, thesaurus, writing guide, and editor manual is a must. In addition to the latest editions of Webster’s dictionary and Roget’s thesaurus, I have the Chicago Manual of Style, Patricia T. O’Conner’s Woe is I, and Karen E. Gordon’s The Deluxe Transitive Vampire at my fingertips. The Grammar Girl at grammar.quickanddirtytips.com is bookmarked on my laptop. A veritable plethora of helpful material is available; even after several years of editing experiences and many years as a high school English teacher, I continue to use outside resources.

Perhaps most critical is the editor’s mindset; that is, the ability not only to be detail-oriented, consistent, and thorough, but the ability to enjoy the process — the plodding, unglamorous nature of the work itself. An editor takes great pleasure in finding an errant comma, a dangling participle, an absent apostrophe; appreciates a perfectly-worded sentence; and is willing to dedicate time and thought to improving awkward and cumbersome text.

Many people have the skills to correct and revise material, but not everyone has the desire to sit for hours and pour over page after page with a magnifying glass. I say this not to discourage potential editors (there is plenty of work for everyone), but to remind that editing can be grueling and unpleasant for those who are not well-suited to the job. Like working on a jigsaw puzzle, editing takes patience and perseverance; the challenge of finishing the manuscript (or completing the puzzle) thrills me, but in truth, does not bring joy to all.

And challenging it is! An editor walks a fine line between correcting and revising a writer’s work, while at the same time maintaining the writer’s voice and spirit. We are tasked with helping an author tell his tale more effectively, yet must remain mindful that the story is not ours. In addition to the standard grammar, punctuation, spelling, and capitalization errors that we address, we are often asked to trim a wordy document, develop a skimpier manuscript, provide commentary, suggest improvements, and still be cognizant of the original storyline and author’s style.

When I first began editing (not counting the years as an English teacher correcting and commenting on my high school students’ assignments), I was hired to proofread, which meant sticking to the basics — no revisions or changes beyond looking for common, flagrant mistakes. Once I had developed self-confidence and a level of competency with publishers, I was given greater flexibility in editing. It was exciting to be able to offer my own analysis and contribute to manuscript development and to form relationships, even friendships, with writers.

But it is also a greater responsibility, which must not be taken lightly. Writers are entrusting their “babies” into our care, and as editors, we would be wise to respect and honor this privilege. We must acknowledge the fact that without writers, there would be no use for us! We must take care to do our best. And like good plastic surgery, our best work is seamless and invisible.

Jami Carpenter is a freelance book editor who works directly with authors and publishers to get manuscripts ready for primetime. She does all types of editing from developmental (helps an author craft the structure and tenor of the book) to copyediting (wrangling all those errant apostrophes). As a long-time Las Vegan, she works frequently with the Las Vegas writing community and other authors from shore to shore. She lives in Bend, Oregon with her husband and an adorable kitten named what else but Webster? Reach her at www.RedPenGirl.com.

Genre “labels” evolve with time, just like language. Authors create a new category of book, write a series, other authors do the same, and Bingo! you’ve got a new genre. For example, how much to you know about  Steampunk Fiction? Amish Romances? See? Times change and new genres are born.

Find it under the DOWNLOADS tab, or use this link. You are welcome to forward to writer friends but please do not copy/publish in any way. Thanks!

There will be a surprise guest!

Come network with others in the biz — writers, freelancers, authors, journalists, editors, agents, publishers — this is the place to be.

Would love to see you!

Carolyn and the Stephens Press Team

When did you ‘know’ you were a writer?
Long before I sold my first article, (about our sons’ adventures in hang gliding), I saw myself as a writer. As I collected 129 rejection slips for poems, essays, stories, and first-hand accounts, I wondered how many rejection slips it would take to sell something. In my mind it was always “when,” never “if.” Still, writing for money altered my title. Now I was an author. Before, I’d been a mother with a typewriter.

How would you describe your style of writing?
Straightforward. Vivid. Full of scenes and vignettes. Often humorous. A story-teller’s quest for the unusual, the humorous, the dramatic, the ironic. But securely anchored in the real world.

What is your writing process?
Except for publicity chores (which are all too time-consuming), I write whenever I can find the time. Sometimes I push things away to “make” time. When I’m deeply involved in a project, I let ordinary “living” go by the board. Laundry, shopping, cooking—they all wait. I have no schedule. Every stolen hour in front of the computer becomes my “schedule.”

What was your path to publication?
No special path. At first I simply sent things out (129 things), until United Airlines Mainliner magazine “bit.” From then on, every published book was achieved a different way. I was agented for my first nine books, yet for five of them the sale would not have occurred except for something I did myself. Even with an agent, you have to be part of the process.

What is your favorite self-marketing idea?
Speeches. There is no second choice. I have searched high and low for something that works as well as giving speeches, but have yet to find it.

8. What are the biggest surprises you’ve encountered as a writer?
Read the whole interview here.

By MAGGIE LILLIS
VIEW STAFF WRITER

Author Carolyn Schneider will be sharing memories of her Uncle Bing on April 28th.

 The month of April will make you laugh all the way to the library, if Reading Las Vegas: A Sure Bet organizers get their way.

The ninth annual adult reading incentive program will include authors known to spin a phrase while tickling the funny bone, program co-chairwoman Leah Ciminelli said.

The monthlong program also will include writing workshops, a murder mystery event and a book festival. Absent from this year’s festivities will be prizes, giveaways and the popular Reading Las Vegas tote bag due to budget cuts within the Las Vegas-Clark County Library District.

Jennifer Schember, adult services coordinator, said this year’s theme, For the Love of Reading, emphasizes getting back to the basics of reading, without the frills of prizes and other incentives.

Read entire article