I had a great night tonight! Normally I don't focus my blog post on what a great night I had, but tonight it seemed appropriate because tonight I spent my evening...
Happy New Year, Paper Waiters! I am so excited to be starting off the new year with some good news... some VERY good news! My picture book, Mystery at the Miss Dinosaur Pageant has been... acquired by Caroline Abbey of Bloomsbury Children's Books!! Yay!!!!
I am so excited I finally get to share my good news. This fun and wacky picture book is near and dear to my heart and I would like to extend a huge thank my awesome Paper Wait critique group for guiding me through revisions (and for believing in it when they first saw an early draft!). And a huge thank you to my awesome agent, Teresa Kietlinski, for believing in this story and helping it to find the right editor!
So please help me celebrate! Take a piece of cake, a scoop of ice cream and join the party!
Can't wait to celebrate lots more good news for all the wonderful Paper Waiters in 2013!
Sometimes a piece gets stuck. I see it one way. I've always seen it that way. And I can't see it any other way.
But then an editor writes back and says she'd like to see it a different way.
First Reaction: Excitement!!! She'd like to see it!
Second Reaction: Terror! How can I change it??? It's been the first way so long, I just can't see how.
That's when a great critique group comes in handy!
They read my stuck words and see where action is needed. What scenes are critical? What scenes aren't? Where is the tension good? Where is the tension missing? Where do I need to shake things up?
After a round of feedback like that, I admit I can sometimes feel overwhelmed. But then the possibilities begin to percolate in my brain. What if I cut that character? What if I changed that ending?
And suddenly I'm scribbling away and I can't stop. I revise once. Then again and again. I'm unstuck and I can't stop! Hurray!
Thanks, guys!
So, how does your critique / revision process work?
I climbed the stairs to the second floor, hearing the sounds of the exercise class instructor calling cues and the music of the dance class pulsing upwards. The Writers Group is meeting on the third floor said the Community House member. I tramped up the now narrower stairs to the third floor to find myself in the dark. Fumbling around I found the light switch and flipped it on and navigated into the only room that looked like it would accommodate the writing group. A fairly stark room - with two large lunch tables and about ten chairs - and the faint sounds of the first floor activities in the background.
It was different from the large and spacious room at the local library, which they had been generous to let us use, and which had been a good place to meet for over ten years, but now their schedule and ours just didn't match.
When the group arrived and we started our scheduled critiques of several members' work - one chapter of a MG novel and a PB manuscript - we seemed to melt into our space comfortably. No other groups were on our high third floor but the sounds of activities from the lower floors in the distance provided comfort and ambient background noise for our discussions. Once we're underway of course, we really don't hear anything else.
We are concentrating on the work and seeing the plot and characters we have been dealing with in prior versions and chapters come more fully to life. Now that we actually know the characters in these two respective manuscripts we speak of them as if they are real and living people, who we think would act, think and speak in a specific way. No, Sam would probably say this....Stella might behave like this instead....
By the end of the first evening, we were very comfortable in our attic meeting room, and I think that our literary characters were too. The space filled with thoughtful consideration - and it seems that the plainer the space the more room there is for growth and for thought to expand.
Certainly the physical place shouldn't matter and a writer could compose with just a pen and paper or keyboard, but in practical terms, a place with room to grow is a positive.
Our old space, comfortable and attractive and sometimes adorned with a local art exhibit, saw a number of books and magazine articles published and awards received, and I am hopeful that the new space will help frame the support for more good work.
Does the space where you write or group critique help mold your work or add to the atmosphere and is it helpful and conducive to the development of your work? I think our new critique meeting room is an ideal space for ideas to grow, thoughts to be exchanged and manuscripts honed into future books.
Over the past year or two, as regular readers of this blog may have noticed, many members (current and former) of this critique group have hit the writer’s jackpot.
*Four members landed agents.
*One member’s picture book debuted this spring.
*One member sold a middle-grade novel, which hits bookstores in August.
*One member sold a picture book.
*Another member sold some magazine articles, adding to her already thick stack of clips.
This is, of course, in addition to children’s books and articles this group’s members have published in the past.
And then there’s me.
Over the past year or two, while most of my critique buddies racked up publishing successes, my own writing came to a complete standstill. To help make ends meet, I went back to work as a writing professor, and my own WIPs gathered dust on a shelf. Luckily, I was able to take the summer off. So I now have a few precious months to write, revise, submit, and critique before school starts again in the fall.
As happy as I am for my critique buddies, I can’t help but envy them. (You sold another book? Isn’t that nice for you?) It feels like everyone’s getting invited to the party but me. I’m still hopelessly pre-pubbed, and feeling like the writerly equivalent of a wallflower. (In the interest of stoking what’s left of my ego, may I add that I’ve published plenty of magazine articles for grown-ups? Of course, in the world of children’s books, it doesn’t count, but thanks for letting me tell you anyway.)
I envy my critique buddies’ newly minted status as agented writers and their lovely new publishing credits. I envy their conversations with agents and editors. I envy their royalty checks, however small. I envy their beautifully designed and illustrated books and magazine pieces. Finally, I envy the time they’re able to devote to their craft, which I used to have, too, but don’t anymore.
Still, I remain hopeful, that this will change one day. That I’ll get the call, too. Sell the book. Cross over to the other side, from pre-pubbed to pubbed. Hey, guys, I made it, wait up!
In the meantime, while I remain in pre-pubbed purgatory, I have a question for our followers (stealth readers and Paper Waiters can chime in, too, of course). From your bios, websites, and blogs, I see that many of you have seen your fair share of publishing successes too. (Isn’t that nice for you? Wink.) So, tell me, were you ever in pre-pubbed purgatory, too, celebrating everyone’s successes but your own? What kept you going?
And for those of you who, like me, haven’t sold your first book yet, one more question: When other people’s success stories are ringing in your ears, and you’re facing your latest rejection, what keeps you going?
(Photo credit: Rebecca Richardson)
Tired of the lonely writing life? If you're looking for a congenial, supportive, knowledgeable children's lit critique group and if you live within commuting distance of Madison, N.J., we may have your solution. The paperwait bloggers/critiquers are searching for new members. In the last year of so, we've lost some people due to changes in their lives. We'd like to welcome a couple of committed writers.
We meet on the first and third Fridays from 10:00 to 12:00 in the Madison Public Library. Our sessions have helped members produce prize-winning manuscripts, secure agents, and develop the published books pictured below on the right. Yes, we work hard, but our atmosphere is jovial and we love celebrating writing milestones.
If you email us at thepaperwait@gmail.com, we'll reply with more information.
Best wishes to all for successful writing in 2010!
Sometimes I picture my writing life as a spinning wheel. As I turn it, my ideas and words fill the spindle a thin strand at a time. Three weeks ago, I had an idea for a story and as I worked the wheel, the bare spindle slowly gained girth. Then the strands snapped. The wheel spun to a stop. I was plunged into a crisis of 24/7 care-giving. Forget fiction. Reality ruled.
How did I start to regain my writing life when the crisis was over?
My critique groups came to the rescue. This week I read and critiqued sections of two novels - an excellent way to reconstruct my writing frame of mind. Reading clever dialogue and vivid descriptions as I rooted for appealing three-dimensional characters inspired me. Thanks, fellow writers, I'm ready to return to writing.
Critique groups support you in obvious and not-so-obvious ways. Right?
My fellow Paper Waiters and I put our heads together and came up with these top tips that have helped keep our critique group running smoothly for the past 12 years.
1. Go positive before going negative. Any critique should begin with positive words about what worked and what the critiquer especially liked. Present praise before you make revision suggestions or comment about what you think needs improvement.
2. Show respect for a person's work. Giving a critique is not supposed to be hurtful but helpful. Treat it as you would treat your own work.
3. The writer should stay silent during the critiques. Don't openly defend your work as it's being critiqued, wait until you've heard everything before responding and asking questions. It takes a lot of time to give a proper critique and whether you agree with it or not, you should at least give the critiquer the chance to get their point across.
4. Members should be expected to produce material to critique on a timely basis. This may mean submitting an earlier work or a short piece if a current, long manuscript is not critique-ready. There should be at least one piece per hour of the session, unless the piece is an entire or partial novel. Having material to critique keeps group members on their toes and producing.
5. Authors should ask for specific points to be mentioned in the critique. If they don't want specific feedback, critiquers should follow the basic points: Plot, character, setting and description, and point of view. Critiques should be limited to ten minutes per person, with time left for the author to ask questions or explain objectives and for critiquers to elaborate or disagree with other critiquers.
6. Critiques should be given to the writer in a timely fashion. It is expected that critique group members will occasionally miss meetings, but every effort should be made to get the critiques to the writer in a timely manner. Even if you have to pay to snail mail it, it's your responsibility to get it to the author.
7. Take the critiques of your work home and review them the same day, if possible. Rereading and rethinking all of the notes you've received will give you a clear idea of the ones that really stand out, and will crystallize for you what work needs to be done.
8. Make sure your fellow critique group members know the genre you're writing in well. It's no fun to be part of a group with people who write mostly for adults, who listen to your children's writing and say only, "How cute." Ugh! What an insult! Also, you need to be able to trust that your critique group members are leading you in a more publishable direction with their critiques.
9. If you have a bunch of critique group members who are always telling you that everything you write is perfect, RUN! While it may be possible that your first drafts are perfect, this is highly unlikely. You really want to surround yourself with critique group members who know how to give substantive critiques that let you know where your manuscript can be improved. This is a very good thing once you develop a tough enough skin to take it!
10. Make a master containing all of your critique group member’s comments before you start revising your manuscript. When you get ten critiqued copies of your work, some comments are bound to contradict each other. Or you could make a deletion or change based on reading one member’s critique, only to find a better suggestion for improvement from another member. To streamline the revision process—and keep your sanity!—make a master copy with everyone’s corrections, color-coded by member, before you revise, so you can see everyone’s comments at once when you dive into your next draft.
Paper Waiters, do any other top tips come to mind? Blogging buddies, what are your critique group's top tips? We'd love to hear about them.
Once upon a time there were three bears-- Papa Bear, Mama Bear and Baby Bear-- who lived in a small cottage in the forest. One day, they were about to eat their porridge, but it was too hot. So they went out on a walk to give it time to cool.
Uh oh! They forgot that today was the day their critique groups were coming over!
Well, the critique groups came over, chitchatted and started their meetings without Papa Bear, Mama Bear and Baby Bear. Then along came Goldie Writer with her rough draft. She heard the groups meeting and couldn't resist the temptation to sneak inside.
First, she sat down with Papa Bear's critique group. When it was her turn, Goldie Writer read her manuscript aloud. Then she waited. All the bears in Papa Bears critique group told her what was wrong with her manuscript. And, according to them, there was a lot wrong! "It was boring," said one. "It was confusing," said another. "I just didn't like it," said a third. Could her manuscript really be that bad? Papa Bear's critique group was too hard.
So Goldie Writer moved on to Mama Bear's critique group. When it was her turn, she read her manuscript aloud. Then she waited. "Oh, how nice," said one bear. "Just lovely dear," said another. "My grandchildren would just adore that story," said a third. "Oh, I'm sure a publisher will pick it up any day now," said a fourth. Goldie Writer's head was spinning. In this group, nobody told her anything was wrong. Could her manuscript really be that perfect? Mama bear's critique group was too soft.
So Goldie Writer moved on to Baby Bear's critique group. She read her manuscript aloud for the third time. "I really liked your main character. She was spunky and likeable," said one bear. "Yes," agreed a second bear. "And the opening to your story had me completely hooked. I couldn't wait to read the next page." Then a third bear chimed in, "I completely agree," she said. "But you might want to look at your ending again. You had me kind of confused there." And a fourth bear added, "And take another look at your dialogue on page 4. It feels a little too much like an info dump to me there." Goldie Writer grinned. They liked it! And they gave her real ways to make it better. She couldn't wait to get home and start revising. Baby Bear's critique group was just right!
At that moment, who should come home, but Papa Bear, Mama Bear and Baby Bear.
Papa Bear found his critique group steaming. "There was a girl here and her story was soooo awful. Thank goodness she's gone!" they said.
Mama Bear found her critique group happy but confused. "There was a girl here and her story was just lovely. Where could she have gone?" they wondered.
Then Baby Bear found his critique group. "There was a girl here who wrote a very intriguing story... and now she's a member of our critique group!"
**********
And so, in this badly fractured version of this traditional tale, Goldie Writer continued to return to the bear's cottage on the first and third Friday of every month. And she continued to leave filled with inspiring ideas of how to make her good manuscripts even better. And they all lived happily ever after!
The End
I've belonged to two critique groups for more than ten years and there's a question I've never resolved, so I'm going public: if you appropriate specific word changes suggested in a colleague's critique, do you feel like a plagiarist?
Now I'm not talking about general critique comments. I'm talking about swapping your specific words, phrases, or sentences for those suggested in a critique line edit. They found the perfect word or phrase. You didn't. And now you covet them! Do you filch?
Or how about when a critique suggests how to end your story with a pow instead of a thud? And even gives you the sentences to do it? Do you rip them off?
Is this acceptable? Do we ask our critiquer for permission? Or do we just steal their perfect words, figuring that perhaps colleagues have kidnapped from our critiques and in the end it's all about helping each other be better writers?
Here are 13 reasons why Jay Asher is my hero:
1. Before Thirteen Reasons Why, his best-selling YA book about a girl who commits suicide, his first 11 manuscripts were rejected by publishers, but he never stopped writing.
2. He understands “edgy.” (See Robin’s March 4th post.)
3. He quit college to pursue a writing career and actually succeeded.
4. Before he sold 13RW, he had a great team blog called Disco Mermaids (DM), which was an inspiration for The Paper Wait. He posted a lot about rejections but ultimately about “the joy and tears of selling a first book.”
5. A few years before he sold 13RW, he started a thread on the Verla Kay blue boards called “Ready to Quit!” He didn’t, which is how he got where he is now.
6. Even though he crossed to the other side, he hasn’t forgotten pre-published writers like myself, including gifting a scholarship to SCBWI.
7. It took him 12 years to sell his first book. Knowing this, I’m giving myself permission to take 15 (12 + 3 for the bad economy), if necessary.
8. Not one but three editors wanted to buy 13RW, so the book went to auction, with the stipulation that he could speak with each editor by phone to choose the one who was right for him. He said this made him feel like Goldilocks, looking for the editor who was “just right.”
9. 13RW was the first non-humorous YA book he ever wrote. The 12 years before that he spent trying to sell humorous books for younger readers, so switching genres paid off.
10. He’s a 30-something guy who mastered a teen girl’s p.o.v.
11. His book is No. 3 on today’s NY Times chapter-book best-seller list. He was also featured in a NY Times article last week.
12. In a DM audio interview, he said that after three and a half years of writing the manuscript, he finally had his critique group read it. Their critiques were so harsh, he felt he needed a more positive critique that would make him feel comfortable sending it out to editors...
13. ...So he sent the manuscript to his Mom. (I have two sons, so the fact that he looked to her for inspiration really ups his hero status.) When Mom said, “This is beautiful honey, a real piece of art,” out it went. You know the rest. (Hmm. What does this say about critique groups?)
I spent the last week revising two WIPs that I have had at our critique group in the past year. As Meg has been saying, we have a great group. The members isolate the elements of the manuscript that need work, and once the writer digests the reviews, she can see that they are right on - that this character needs more or different motivation or more realistic dialogue, or that you might need a different angle on the plot.
I often wait a bit after the group critique and then can go back and read and assimilate the comments in the context of time and the whole story. Most of us couldn't do without an involved critique group. Our group knows each other's story characters almost as well as our own and looks forward to seeing them again in successive chapters and critiques.
I was revising my picture book about beaches and a story about New York Island and harbor over the last few weeks, and as I was going over the manuscripts, I could hear again the various members of the critique group suggesting their solutions for specific problems in the stories. As you struggle to make the right fixes you hear their voices and explanations, and as you work by yourself, you feel you are discussing the pros and cons of each choice with mentors, and coming up with good solutions.
Revising is sometimes fun, and always work, but with the suggestions of a good critique group to consider, it produces a good story.
Last Sunday I attended a NJ-SCBWI Mentoring Workshop at which there was a First Page Session. In preparation for this I submitted a first page to my critique group. It was a revised first page of a WIP that has been IP for years. It's a project that, for one reason or another, has been difficult for me. I've stopped and started, abandoned and returned to it many times. In the current return I have decided to pretty much chuck all that I'd written previously and take on a new direction with a new main character, new POV, and essentially new everything.
My critique group trashed it.
Yes, this group of writers who I consider among my best friends literally ripped my first page apart. A first page! Quite honestly, I didn't know one could find so much wrong with a single page. Don't worry, they all did it in a nice way and started and ended their eviscerations with positive comments, but Gale still had to call me the next morning to make sure I wasn't planning on doing a Sylvia Plath. (I wasn't, just so you know).
I went off to the Workshop on Sunday with two first pages. The first from my contemporary YA which has been critiqued in so many First Page Sessions I felt confident it would not be torn to shreds in public - it was safe. The second first page in my writer's bag was the ripped-to-shreds first page of my current WIP with a few minor changes (the ones that could be managed without a complete rewrite). Standing at the desk where I was instructed to leave my first page, I couldn't decide which one to leave. My hand was on the ripped-to-shreds one, but my ego wouldn't let me pull it out. I chickened out and put the safe first page on the pile. My skin was not thick enough to weather a second shredding in less than 48 hours.
Something you should know about me is that I love First Page Sessions, often finding them the most valuable part of a conference. It doesn't matter if the first pages are accomplished pieces of writing simply waiting to find the right editor or a newbie written page that makes you cringe just to listen to it (and admit it, there's always at least one in a first page session that makes your hair stand on end). I learn something from every page that's read.
What I learned on Sunday when the editors read my safe first page was that I had some dialogue that wouldn't really happen, but conveniently allowed me to bring up a point of tension between two characters. That's a valuable criticism and something easily fixed.
But what I REALLY learned on Sunday came from other people's first pages -- To recognize the thin line that exists between starting with action, which is something we always hear, to dropping the reader into a scene without them having the slightest notion of what is going on. A Thin Line. And I understood immediately what my critique group was trying to tell me.
Now one could argue that my beloved critique group could have lightened up a little bit. On the other hand, our group has never been known to blow hot air up anyone's skirt. We all call it as we see it, which is one of the things I value most about the group.
It's another thin line, one we balance on at every meeting.
I'm not sure if I regret playing it safe on Sunday. Given that the rest of the Workshop went so well, maybe I could have weathered a second evisceration if I'd been brave enough to submit my WIP first page. It's a thin line.
Our critique group meets in a library conference room, twice a month for two hours at a clip. Generally, we critique two submissions each meeting. The submissions are sent out at least a week in advance. Shorter subs are sent via email; longer submissions are delivered in hard copy, usually at a prior meeting.
Does this mean we spend more time critiquing each other’s work than groups who do not read submissions in advance of a meeting? Yup.
And is it worth it? Yup. Every minute.
I can’t even begin to count how much revision time I’ve been spared by the thoughtful comments of my crit-mates. I recently submitted the first 75-pages on my YA WIP. A subplot had threatened to take over my main story. I needed some feedback before I spent a few months on a train headed in the wrong direction.
The critiques I received were specific and grounded in what was positive about my work. Not only did they help me figure out what to do with that meddlesome subplot, (a couple hints here and there will do it -- the rest gets cut and pasted into the “maybe I’ll use this someday” folder) I now have a much clearer understanding of my MC’s emotional depth. I was so hung up on the physical plot, the emotional plot was lacking. I’ve forged on with my first draft with renewed focus. I look forward to revising that initial chunk knowing the answer to the age-old question: What does your character want?
Reading, marking up and analyzing 75-pages took a lot of time. And for that, I thank my fellow paperwaiters and their collective knives.
Some writers may feel differently than we do -- that spending so much time critiquing other people’s work takes too much time away from one’s own writing. I find, however, that by taking a critical look at other people’s work, I become a better writer. And by others taking a critical look at my work, I save a lot of sweat equity.
I’d love to hear from other writers about this. How does your critique group operate? Do you feel you get what you give?
I've been reading a lot of YA lately. Not just historical fiction, but all kinds. I just finished THE ADORATION OF JENNA FOX which, like another one of my favorites, UNWIND, is a futuristic story that tells such a fascinating story that the reader is sucked into new worlds at the same time being forced to think about important issues like life and death, quality of life, and medical ethics, without even realizing it. I LOVE books that encourage thinking!
So, you might wonder what I've been thinking about...
I've been thinking about my critique group. There was one small instance in JENNA FOX that stopped me. Without writing any spoilers, the MC's parents go to fairly extreme measures to hide Jenna away, but when they finally concede to allow Jenna to go to school, they send her out into the world with her real name, Jenna Fox. It bugged me that they didn't at least change her name to keep her identity secret.
I know if Mary Pearson were in our critique group and had brought a rough draft of JENNA FOX to be critiqued someone would have said, "hey, how come her parents don't change her name?" Heck! I would have said it! And perhaps, if Mary Pearson were in our group, she'd have gone back to her desk/computer and written a whole convoluted sub-plot involving the name change of Jenna Fox when it OBVIOUSLY isn't necessary.
Reading more YA has made me realize how much REALLY GOOD YA is out in the world. It's also made me realize that perhaps I am too picky in my critiques. I'm not talking about ignoring glaring inconsistencies, or plot development that doesn't develop, or MCs who have no attraction, I'm talking about small stuff that can be justified with a suspension of belief, a faith in my reader that I don't need to explain every tiny, minute detail. Let the character live and let the reader read.
I am evolving as a reader. I am finding that most of the books I've picked up I've had to read straight through because the story is so engaging that I just want to enjoy it. Then I have to go back and read it as a writer - which I confess to not being that good at yet.
So as I am learning how to be a better writer and a better critiquer, I'm wondering how other writers read. Does reading influence your writing or your critiquing?
Since this in my last scheduled post of the year, I decided to put together an annual report on my writing life. So here goes . . .
TOTAL SUBMISSIONS FOR 2008: three picture books, eight magazine pieces (two stories, six poems), two manuscripts entered in contests: story in poetry, and short non-fiction.
What happened to these submissions?
Picture book A: one form rejection, three personal rejections, one request for revision. Revised manuscript. Goes to editorial team meeting. More revision suggestions. Revised manuscript. Goes to editorial team meeting again. Rejection. Submitted to three new publishers. Still out.
Picture book B: Goes to editorial team meeting. Rejection. Still revising.
Picture book C: July submission, still waiting to hear. Time to write a status query.
Magazine pieces: One story rejected. One story still out. Six poems: five rejected (with personal note). One accepted.
Contests: Story in poetry. Rejection. Short non-fiction, announcement of winners in 2009.
SUMMARY: 13 rejections. One acceptance. I've had better years!
INCOME: $250.00 for reprint rights to an older magazine story. $173.25 for sales of my copies of OP picture book.
THE GOOD NEWS: I had manuscripts reach editorial team meetings. I got a phone call from the editor who loved my first revision of picture book A. One poem has been accepted and scheduled for publication. One magazine piece, bought in Dec. 2006, is being held for publication. (Maybe this qualifies as bad news?)
THE BAD NEWS: I had manuscripts reach editorial team meetings. They were rejected. Can't help but get your hopes up, especially after two revisions.
OUTLOOK: Cloudy, with the assurance of more rejection, but this writing career will continue. Why? Writing is essential to me and I still have stories to tell. I also thrive on the friendships and the give and take of my two excellent critique groups.
Best writing wishes to all for 2009!
Since Thanksgiving is two days away, it seems appropriate, and perhaps corny, to reflect on all that we are thankful for.
I am thankful for my critique group. (I am thankful for a great many other things as well, but since this is a blog about writing and critiquing, I'll spare you my list.)
I recently had an online experience that made me appreciate the thoughtful, thorough, and honest critiques that come from the members of this group. Perhaps I went into the online experience with the wrong expectations. Perhaps I am spoiled in expecting fellow writers to give constructive criticism instead of comments like, "I don't think this is well written" or "This isn't my thing". What is an author supposed to take from a comment like that? I suppose one could just ignore them, but then what is the point of them being posted in the first place?
Like many experiences in life, I try to learn something good from the bad. I've learned to keep things in perspective and appreciate what I do have rather than what I don't.
Thank you, Linda, Gale, Judy, Janice, Brianna, Valerie, Eileen, and Robin for your constructive and supportive critiques. I hope I give as good as I get.
What are you thankful for?
Critique groups endorse a form of torture not mentioned in any Geneva Convention. In my two critique groups, we try to abide by that all-important rule: when your work is being critiqued, your lips are to be locked until everyone has spoken. Hard? Torture hard!
When the critiques begin, you twitch, fiddle with a pencil, or shift in your chair. If someone mentions a small flaw and you don't agree, your brain explodes. You long to cry out, "You didn't read carefully enough! I did explain that! See, it's right there!"
Harder still, is keeping your lips locked when a fellow writer doesn't "get it" and demonstrates total ignorance about a basic premise of your manuscript!
I witnessed two writers accomplish this feat of self-control during the last month. They listened SILENTLY to a few clueless critiques (mine included) that missed an essential point of their manuscript. Kudos to both! One had written a picture book that experimented with the age of the main character. The other is writing a novel blending reality with exaggeration and magic.
Now comes the happy part: post torture, both authors were rewarded. The excellent group discussions following the critiques provided them with helpful fodder for revisions.
Moral of the story? If you belong to a good critique group, suffering through locked lips torture sometimes pays off.
