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Our September Author Interviews--9/6 Kathleen Valenti, 9/13 David Burnsworth, 9/20 Jeri Westerson, 9/27 Frances Brody. Please join us in welcoming these authors to WWK.
September Saturday Guest Bloggers: 9/2--Anne Bannon, 9/9 WWK Bloggers, 9/16 Margaret S. Hamilton, 9/23 Kait Carson, and on 9/30 Trixie Stiletto.
“May 16, 2017 – The Women’s Fiction Writers Association (WFWA) today announced the finalists of the second annual Star Award, given to authors of published women’s fiction. Six finalists were chosen in two categories, General and Outstanding Debut. The winners of the Star Award will be announced at the WFWA Retreat in Albuquerque, New Mexico on September 23, 2017.” In the general category, WWK’s Carla Damron was one of three finalist for her novel, The Stone Necklace. Go to Carladamron.com for more information. Congratulations, Carla!
Congratulations to our writers for the following publications:
Warren Bull's new Lincoln mystery, Abraham Lincoln In Court & Campaign has been released. Look for the Kindle version on February 3.
Shari Randall's "Pets" will be included in Chesapeake Crimes: Fur, Feathers, and Felonies anthology, which will be published in 2018. In the same anthology "Rasputin," KM Rockwood's short story, will also be published. Her short story "Goldie" will be published in the Busted anthology, which will be released by Level Best Books on April 25th.
In addition, our prolific KM will have the following shorts published as well: "Sight Unseen" in Fish Out of Water, Guppie (SinC) anthology, just released, and "Making Tracks" in Passport to Murder, Bouchercon anthology, October 2017.
Margaret S. Hamilton's short story, "Once a Kappa" was published as a finalist in the Southern Writer's Magazine annual short story contest issue. Mysterical-E published her "Double Crust Corpse" in the Fall 2016 issue. "Baby Killer" will appear in the 2017 solar eclipse anthology Day of the Dark to be published this summer prior to the eclipse in August.
Monday, August 9, 2010
She was the boss, so I never defended what I had written. But when I started writing fiction, I developed an ego about my writing. Having an ego and being egotistical are two very different things. Writers need to have egos, if not, you’d have nothing else. There is so much rejection, having an ego is like wearing a safety helmet before dirt biking. It’s just crazy not to have one.
Soon after I finished my first novel, I realized critiques by friends weren’t worth much. Terrible to say, but too much personal baggage gets in the way for friends to effectively critique. Since I often write about child abuse, the first thing they wanted to know was if I was an abused child, and looked at me dubiously when I answered negatively. I took their comments as a complement to my writing since I must have portrayed abuse with realism. I also write about characters seeing demons, crouching in closets to avoid gunfire or freeing kidnapped children, all of which I haven’t had the pleasure of experiencing. Writing fiction calls up our muse or imagination, which is invisible to our friends so they assume we don’t have such fanciful dimensions. Only other murder mystery authors understand.
Friends don’t have a professional viewpoint that will home in on a manuscript’s problems. Unless your friends happen to be in the fiction business, most people do not have the skills to critique or edit.
Critiquing is about concept, structure, impact, characters and plotting. Editing is not only making sure that what you have written is grammatically correct, which doesn’t include dialogue or personalized narrative, which may be purposefully incorrect, but also that your use of language is effective. Less is often more. An astute editor also provides advice on the elements of the manuscript much like critiques. Critiquing and editing are two very different sets of skills. More often than not, an editor can do both well due to the volume of fiction they edit. They know what others are writing and who is getting published, in short what will fly. Of course, editors aren’t cheap, so new authors find critique groups, hoping that some in the group have more experience than they do.
My first critique group was a disaster. We sent each other our pieces via email, critiqued and minimally edited, and then met in a restaurant once a month to discuss the critiques. Did it happen like that? No. More often than not, people talked of other things, ate, socialized and very little was actually accomplished by getting together. We could have forgone the socializing and accomplished more on-line. When people meet, other factors come into play than the actual writing.
I joined an on-line short story critique group that works well. These writers are published, know the market, and have the experience to provide worthwhile comments. Problem? Out of a group of twelve, only four to six members respond to a piece submitted for a critique. Granted, any response from these experienced members is valuable and not everyone can respond every time. But then, that’s why a group, rather than a few individuals getting together is better. A large enough group provides that some of the members will respond to all pieces. Like any voluntary group though, the same people tend to respond. Too much dependence can develop among members of too small of a group, and dependence on a few people narrows the prospective through which a piece critiqued. The more critiques you receive the better.