"It is harder to conceal
ignorance than acquire knowledge."
(from Jeanine’s Mom’s collection)
I was one of those Moms who were as unhappy as
the kids about "back to school" time.
Goodbye to the crazy, hazy, lazy days of summer
(are you all humming the tune?) and hello to the
days of routine, schedules, bagged lunches and
the dreaded homework assignments. Even though
my children have successfully graduated out of
the school years, I still think of September as
a time of renewal, the start of the new year with
all its hopes, plans and promises. So a happy,
creative and productive New Year to you all. I
hope you enjoy these terrific responses to last
month’s questions.
QUESTION #1: When you are using a real
setting (ie city or town) in your fiction book,
how real does real have to be? Must you be accurate
in your descriptions or can you improve upon reality?
If you want to play with locales should you change
the names?
~ I actually do play with reality. I try and
keep it as accurate as possible, but often I'm
doing it from memory, so what I remember is what
worked for me in that location. I might remember
a specific restaurant or street or house, but
have no idea where it was in the city and it might
end up on the wrong street. One of my books has
a whole bunch of settings - Vancouver, Nelson,
a hike in the Rockies, West Edmonton Mall, Drumheller,
Cranberry Portage - I drew on memories of all
of them except Cranberry Portage (and that information
I mostly made up) so I expect they're not completely
accurate. I also think it depends on the kind
of book you're writing. Most readers understand
the idea of writer's license.
~ I change names of businesses so I don't need
to worry about lawsuits. I sometimes make up name/location
of my own suburb, just because it's easier than
worrying about getting it exactly right and so
I can change the street/layout to fit my story
needs. If I use the real city I don't worry about
getting small businesses or homes right as long
as I keep the landmarks real. Eg. I use Stanley
Park just as it is but I might change the name/type
of nearby business as needed, like bike rental
stores or restaurants.
QUESTION #2: What should one expect from
a critique group? How do you go about finding
one that suits your needs and expectations? Are
there people within GVC who are interested in
forming critique groups?
~ Number one thing to expect from critique groups
is the Golden Rule… do unto others as you
would like to be treated yourself. Be kind, be
fair, don't argue.
~ Critique groups are great but you need to
be careful. You want to make sure that the members
are around your same level - not of publication,
but of commitment. You don't want a critique group
where only one person shows up with writing. The
time commitment is also crucial - if you're really
busy, don't get in a group that expects you to
do more work than you can comfortably do - don't
forget you have to do your own writing and critique
someone else's. Critiquing someone else's work
helps make you a better writer so it's worth it,
just make sure it's a commitment you're comfortable
with.
What should one expect from a critique
group?
a) positive suggestions, even in correction --
comments that are constructive, not personal.
b) honesty, with the understanding that a reader's
opinion is always subjective, not necessarily
right, wrong, or cast in stone.
c) respect for differing styles between the writer
and reader.
d) respect for the writer's freedom to choose,
use, or lose any suggestions made.
e) a reasonable balance between submitting and
critiquing
f) indication as to the level of feedback being
sought on any submitted work.
How do you go about finding one that
suits your needs and expectations? Since
a critique group is often a baby manuscript's
first tentative step away from the safety of a
writer's imagination and computer, the dynamics
of critique members is key. Ideally, if personal
contact is possible, we should seek critique partners
with whom we feel most compatible in expectations
outlined above. If personal contact is not possible,
as with an online group, it's likely best to check
groups that are recommended, well established
or allow you to watch a bit before jumping in.
What should one expect from a critique
group? A group of professional-minded
women who have similar goals. They're there to
improve your work, not to hold your hand and let
you feel like everything in your manuscript is
perfect. People who are willing to meet at the
same rate you are. If they pump chapters out a
couple at a time every week you may find this
overwhelming, or if you find you're the only one
contributing, you may want to reconsider.
How do you go about finding one that
suits your needs and expectations? Ask
around. Find people you jive with and ask if they're
interested in getting together.
NEXT MONTH'S QUESTIONS:
1) The phone rings. You pick it up and a chirpy
voice says, "This is Suzie Goodnews from
XYZ Publishers. We want your book." What
do you do now? What should you look for before
you sign that contract?
2) What are your three favorite tapes in our
library and why?
Get back into the writing spirit by sending in
your responses to these new questions. Get them
to me, along with any new questions that popped
up over the summer, by whatever method works best
for you…email, phone, in person, carrier
pigeon or even owl (major Harry fan).
Thanks to Judy, Kate, Erin and Lorea for terrific
responses, suggestions and questions.
"To make a long story
short, yawn."
(More from Mom’s collection)
…Jeanine
Jeanine is a writer who is going to be an author
if and when she grows up. For now, she enjoys
being a member of GVC and developing workshop,
training and marketing materials for various organizations.
Articles may be reprinted in RWA® chapter
newsletters, attributed to the Spotlight.
Non-RWA® newsletters may not reprint articles
without the permission of the authors.
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